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Gauss Algorithmic 7

C_c8669da93a354fe6ba8ffda4711a8b00_1

What happened after that?

What happened to Loki in Journey into Mystery?

Loki (comics)

With the Asgardian population other than Thor still wary of Loki, Loki revealed to his brother that he was attempting to learn more about Earth and humans, to which Thor approves. When a magpie exploded in his quarters carrying a key, it led to a chain of events where at the end, Loki was contacted by an echo of his former incarnation, who revealed he chose to sacrifice himself fighting the Void as part of a greater plan which would involve his death and return. The child Loki refused to follow this path, wanting to be his own person, and transformed the spirit of his former self into a magpie named Ikol. On returning to Earth, he witnessed Odin striking down Thor. Odin prepared all of Asgard for an unknown battle and imprisoned Thor for attempting to protect Midgard from being scoured. Loki, who disagreed with Odin's actions, was put to work by Volstagg into cleaning the stables of Thor's goats to keep him out of trouble and danger. Using the wool of one of the goats, Loki descended into the roots of the World Tree at the advice of Ikol to ask questions from the Nornish women who live there. After receiving his answers, Loki wept but decided to turn to the imprisoned Thor for his opinion before making his final decision. Breaking into the prison by stealth, Loki asked his brother what he would do if he had to let something bad happen in order to prevent something worse from happening and what if it cost him everything. With Thor's answer, Loki decided to free one of the imprisoned Hel Wolves and bind it to him in servitude using the bridle of Thor's goats. He revealed he needed help from one more 'personage' before heading for the realm of Hela. Having recovered Thor's hammer after he was killed and erased from memory following the war against the Serpent, Loki was able to work with the Silver Surfer to restore the hammer to its natural state and send it to Thor in the afterlife, restoring his memory and allowing him to fight his way back into the realm of the living. After Thor's return, Ikol would afterwards reveal that circumstances had been manipulated to force the young Loki to allow his former personality to subsume him and live again, his former slate wiped clean by the "new" Loki's actions. During his adventures, the young Loki had inadvertently helped create and was tied to a powerful artifact that was about to be used by Mephisto to conquer all the Hells and ultimately everything. However, if the new Loki ceased to be, the artifact would lose all power. Seeing no other option, Loki allowed Ikol to become Loki again, ceasing to be, but he warned beforehand that the Ikol personality was incapable of true change and believed this older persona would ultimately be stopped by those who always stopped him before, his brother included. CANNOTANSWER

On returning to Earth, he witnessed Odin striking down Thor.

C_c8669da93a354fe6ba8ffda4711a8b00_1

What did Odin did next?

What did Odin did after striking Thor in the comics, Journey into Mystery ?

Loki (comics)

With the Asgardian population other than Thor still wary of Loki, Loki revealed to his brother that he was attempting to learn more about Earth and humans, to which Thor approves. When a magpie exploded in his quarters carrying a key, it led to a chain of events where at the end, Loki was contacted by an echo of his former incarnation, who revealed he chose to sacrifice himself fighting the Void as part of a greater plan which would involve his death and return. The child Loki refused to follow this path, wanting to be his own person, and transformed the spirit of his former self into a magpie named Ikol. On returning to Earth, he witnessed Odin striking down Thor. Odin prepared all of Asgard for an unknown battle and imprisoned Thor for attempting to protect Midgard from being scoured. Loki, who disagreed with Odin's actions, was put to work by Volstagg into cleaning the stables of Thor's goats to keep him out of trouble and danger. Using the wool of one of the goats, Loki descended into the roots of the World Tree at the advice of Ikol to ask questions from the Nornish women who live there. After receiving his answers, Loki wept but decided to turn to the imprisoned Thor for his opinion before making his final decision. Breaking into the prison by stealth, Loki asked his brother what he would do if he had to let something bad happen in order to prevent something worse from happening and what if it cost him everything. With Thor's answer, Loki decided to free one of the imprisoned Hel Wolves and bind it to him in servitude using the bridle of Thor's goats. He revealed he needed help from one more 'personage' before heading for the realm of Hela. Having recovered Thor's hammer after he was killed and erased from memory following the war against the Serpent, Loki was able to work with the Silver Surfer to restore the hammer to its natural state and send it to Thor in the afterlife, restoring his memory and allowing him to fight his way back into the realm of the living. After Thor's return, Ikol would afterwards reveal that circumstances had been manipulated to force the young Loki to allow his former personality to subsume him and live again, his former slate wiped clean by the "new" Loki's actions. During his adventures, the young Loki had inadvertently helped create and was tied to a powerful artifact that was about to be used by Mephisto to conquer all the Hells and ultimately everything. However, if the new Loki ceased to be, the artifact would lose all power. Seeing no other option, Loki allowed Ikol to become Loki again, ceasing to be, but he warned beforehand that the Ikol personality was incapable of true change and believed this older persona would ultimately be stopped by those who always stopped him before, his brother included. CANNOTANSWER

Odin prepared all of Asgard for an unknown battle and imprisoned Thor for attempting to protect Midgard from being scoured.

C_c8669da93a354fe6ba8ffda4711a8b00_1

What are the tools required for the process?

What are the tools required for Odin to prepare Asgard for battle?

Loki (comics)

With the Asgardian population other than Thor still wary of Loki, Loki revealed to his brother that he was attempting to learn more about Earth and humans, to which Thor approves. When a magpie exploded in his quarters carrying a key, it led to a chain of events where at the end, Loki was contacted by an echo of his former incarnation, who revealed he chose to sacrifice himself fighting the Void as part of a greater plan which would involve his death and return. The child Loki refused to follow this path, wanting to be his own person, and transformed the spirit of his former self into a magpie named Ikol. On returning to Earth, he witnessed Odin striking down Thor. Odin prepared all of Asgard for an unknown battle and imprisoned Thor for attempting to protect Midgard from being scoured. Loki, who disagreed with Odin's actions, was put to work by Volstagg into cleaning the stables of Thor's goats to keep him out of trouble and danger. Using the wool of one of the goats, Loki descended into the roots of the World Tree at the advice of Ikol to ask questions from the Nornish women who live there. After receiving his answers, Loki wept but decided to turn to the imprisoned Thor for his opinion before making his final decision. Breaking into the prison by stealth, Loki asked his brother what he would do if he had to let something bad happen in order to prevent something worse from happening and what if it cost him everything. With Thor's answer, Loki decided to free one of the imprisoned Hel Wolves and bind it to him in servitude using the bridle of Thor's goats. He revealed he needed help from one more 'personage' before heading for the realm of Hela. Having recovered Thor's hammer after he was killed and erased from memory following the war against the Serpent, Loki was able to work with the Silver Surfer to restore the hammer to its natural state and send it to Thor in the afterlife, restoring his memory and allowing him to fight his way back into the realm of the living. After Thor's return, Ikol would afterwards reveal that circumstances had been manipulated to force the young Loki to allow his former personality to subsume him and live again, his former slate wiped clean by the "new" Loki's actions. During his adventures, the young Loki had inadvertently helped create and was tied to a powerful artifact that was about to be used by Mephisto to conquer all the Hells and ultimately everything. However, if the new Loki ceased to be, the artifact would lose all power. Seeing no other option, Loki allowed Ikol to become Loki again, ceasing to be, but he warned beforehand that the Ikol personality was incapable of true change and believed this older persona would ultimately be stopped by those who always stopped him before, his brother included. CANNOTANSWER

CANNOTANSWER

C_c8669da93a354fe6ba8ffda4711a8b00_1

Are there any other interesting aspects about this article?

Aside from Loki witnessing Odin strike Thor, are there any other interesting aspects about this article?

Loki (comics)

With the Asgardian population other than Thor still wary of Loki, Loki revealed to his brother that he was attempting to learn more about Earth and humans, to which Thor approves. When a magpie exploded in his quarters carrying a key, it led to a chain of events where at the end, Loki was contacted by an echo of his former incarnation, who revealed he chose to sacrifice himself fighting the Void as part of a greater plan which would involve his death and return. The child Loki refused to follow this path, wanting to be his own person, and transformed the spirit of his former self into a magpie named Ikol. On returning to Earth, he witnessed Odin striking down Thor. Odin prepared all of Asgard for an unknown battle and imprisoned Thor for attempting to protect Midgard from being scoured. Loki, who disagreed with Odin's actions, was put to work by Volstagg into cleaning the stables of Thor's goats to keep him out of trouble and danger. Using the wool of one of the goats, Loki descended into the roots of the World Tree at the advice of Ikol to ask questions from the Nornish women who live there. After receiving his answers, Loki wept but decided to turn to the imprisoned Thor for his opinion before making his final decision. Breaking into the prison by stealth, Loki asked his brother what he would do if he had to let something bad happen in order to prevent something worse from happening and what if it cost him everything. With Thor's answer, Loki decided to free one of the imprisoned Hel Wolves and bind it to him in servitude using the bridle of Thor's goats. He revealed he needed help from one more 'personage' before heading for the realm of Hela. Having recovered Thor's hammer after he was killed and erased from memory following the war against the Serpent, Loki was able to work with the Silver Surfer to restore the hammer to its natural state and send it to Thor in the afterlife, restoring his memory and allowing him to fight his way back into the realm of the living. After Thor's return, Ikol would afterwards reveal that circumstances had been manipulated to force the young Loki to allow his former personality to subsume him and live again, his former slate wiped clean by the "new" Loki's actions. During his adventures, the young Loki had inadvertently helped create and was tied to a powerful artifact that was about to be used by Mephisto to conquer all the Hells and ultimately everything. However, if the new Loki ceased to be, the artifact would lose all power. Seeing no other option, Loki allowed Ikol to become Loki again, ceasing to be, but he warned beforehand that the Ikol personality was incapable of true change and believed this older persona would ultimately be stopped by those who always stopped him before, his brother included. CANNOTANSWER

Loki, who disagreed with Odin's actions, was put to work by Volstagg into cleaning the stables of Thor's goats to keep him out of trouble and danger.

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Did she do it?

Did Volstagg put Loki to work?

Loki (comics)

With the Asgardian population other than Thor still wary of Loki, Loki revealed to his brother that he was attempting to learn more about Earth and humans, to which Thor approves. When a magpie exploded in his quarters carrying a key, it led to a chain of events where at the end, Loki was contacted by an echo of his former incarnation, who revealed he chose to sacrifice himself fighting the Void as part of a greater plan which would involve his death and return. The child Loki refused to follow this path, wanting to be his own person, and transformed the spirit of his former self into a magpie named Ikol. On returning to Earth, he witnessed Odin striking down Thor. Odin prepared all of Asgard for an unknown battle and imprisoned Thor for attempting to protect Midgard from being scoured. Loki, who disagreed with Odin's actions, was put to work by Volstagg into cleaning the stables of Thor's goats to keep him out of trouble and danger. Using the wool of one of the goats, Loki descended into the roots of the World Tree at the advice of Ikol to ask questions from the Nornish women who live there. After receiving his answers, Loki wept but decided to turn to the imprisoned Thor for his opinion before making his final decision. Breaking into the prison by stealth, Loki asked his brother what he would do if he had to let something bad happen in order to prevent something worse from happening and what if it cost him everything. With Thor's answer, Loki decided to free one of the imprisoned Hel Wolves and bind it to him in servitude using the bridle of Thor's goats. He revealed he needed help from one more 'personage' before heading for the realm of Hela. Having recovered Thor's hammer after he was killed and erased from memory following the war against the Serpent, Loki was able to work with the Silver Surfer to restore the hammer to its natural state and send it to Thor in the afterlife, restoring his memory and allowing him to fight his way back into the realm of the living. After Thor's return, Ikol would afterwards reveal that circumstances had been manipulated to force the young Loki to allow his former personality to subsume him and live again, his former slate wiped clean by the "new" Loki's actions. During his adventures, the young Loki had inadvertently helped create and was tied to a powerful artifact that was about to be used by Mephisto to conquer all the Hells and ultimately everything. However, if the new Loki ceased to be, the artifact would lose all power. Seeing no other option, Loki allowed Ikol to become Loki again, ceasing to be, but he warned beforehand that the Ikol personality was incapable of true change and believed this older persona would ultimately be stopped by those who always stopped him before, his brother included. CANNOTANSWER

Using the wool of one of the goats, Loki descended into the roots of the World Tree

C_c8669da93a354fe6ba8ffda4711a8b00_1

What was his favorite weapon or tool?

What was Loki's favorite weapon or tool?

Loki (comics)

With the Asgardian population other than Thor still wary of Loki, Loki revealed to his brother that he was attempting to learn more about Earth and humans, to which Thor approves. When a magpie exploded in his quarters carrying a key, it led to a chain of events where at the end, Loki was contacted by an echo of his former incarnation, who revealed he chose to sacrifice himself fighting the Void as part of a greater plan which would involve his death and return. The child Loki refused to follow this path, wanting to be his own person, and transformed the spirit of his former self into a magpie named Ikol. On returning to Earth, he witnessed Odin striking down Thor. Odin prepared all of Asgard for an unknown battle and imprisoned Thor for attempting to protect Midgard from being scoured. Loki, who disagreed with Odin's actions, was put to work by Volstagg into cleaning the stables of Thor's goats to keep him out of trouble and danger. Using the wool of one of the goats, Loki descended into the roots of the World Tree at the advice of Ikol to ask questions from the Nornish women who live there. After receiving his answers, Loki wept but decided to turn to the imprisoned Thor for his opinion before making his final decision. Breaking into the prison by stealth, Loki asked his brother what he would do if he had to let something bad happen in order to prevent something worse from happening and what if it cost him everything. With Thor's answer, Loki decided to free one of the imprisoned Hel Wolves and bind it to him in servitude using the bridle of Thor's goats. He revealed he needed help from one more 'personage' before heading for the realm of Hela. Having recovered Thor's hammer after he was killed and erased from memory following the war against the Serpent, Loki was able to work with the Silver Surfer to restore the hammer to its natural state and send it to Thor in the afterlife, restoring his memory and allowing him to fight his way back into the realm of the living. After Thor's return, Ikol would afterwards reveal that circumstances had been manipulated to force the young Loki to allow his former personality to subsume him and live again, his former slate wiped clean by the "new" Loki's actions. During his adventures, the young Loki had inadvertently helped create and was tied to a powerful artifact that was about to be used by Mephisto to conquer all the Hells and ultimately everything. However, if the new Loki ceased to be, the artifact would lose all power. Seeing no other option, Loki allowed Ikol to become Loki again, ceasing to be, but he warned beforehand that the Ikol personality was incapable of true change and believed this older persona would ultimately be stopped by those who always stopped him before, his brother included. CANNOTANSWER

CANNOTANSWER

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Where did she grow up?

Where did Katrina Kaif grow up?

Katrina Kaif

Katrina Kaif was born in Hong Kong with her mother's surname Turquotte (also spelt Turcotte), on 16 July 1983. According to the actress, her father (Mohammed Kaif) is a British businessman of Kashmiri Indian descent and her mother (Suzanne, also spelt Susanna) is an English lawyer and charity worker. She has seven siblings: three elder sisters (Stephanie, Christine, and Natasha), three younger sisters (Melissa, Sonia, and Isabel) and an elder brother, Michael. Isabelle Kaif is also a model and actress. Kaif's parents divorced when she was a child, and her father moved to the United States. She said her father had no influence on Kaif or her siblings while they were growing up, and they were raised by their mother. On her father's absence in her life, Kaif stated: "When I see friends who have wonderful fathers who are like pillars of support for their families, I say, if only I had that. But instead of complaining, I should be grateful for all the other things I have". In a 2009 interview with The Indian Express, she said she was not in touch with her father. Kaif says that her mother decided to "dedicate her life to social causes", which led to the family's relocation to a number of countries for varying lengths of time: Our transitions in growing up were--from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland--and I'm cutting out many East European countries where we were for only a few months each--then Poland in Krakow ... After that we went to Belgium, then to Hawaii, which was a short time, and then came to London. Due to their frequent relocation, Kaif and her siblings were home-schooled by a series of tutors. Although she is thought to have grown up in London, she lived there for only three years before moving to India. According to Kaif, she then changed her surname to her father's because she thought it would be easier to pronounce. Kaif's paternal parentage has been questioned by some members of the film industry. In a 2011 interview with Mumbai Mirror, Boom producer Ayesha Shroff accused Kaif of fabricating her history: "We created an identity for her. She was this pretty young English girl, and we gave her the Kashmiri father and thought of calling her Katrina Kazi. We thought we'd give her some kind of Indian ancestry, to connect with the audience ... But then we thought that Kazi sounded too ... religious? ... Mohammad Kaif was at the top, and so we said, Katrina Kaif sounds really great". Kaif called Shroff's comments "hurtful". CANNOTANSWER

from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland--and I'm cutting out many East European

Katrina Kaif (; born Katrina Turquotte; 16 July 1983) is a British actress who works in Hindi-language films. One of the highest-paid actresses in India, she has received several accolades, including four Screen Awards and four Zee Cine Awards, in addition to three Filmfare nominations. Though she has received mixed reviews for her acting, she is noted for her dancing ability in various successful item numbers. Born in Hong Kong, Kaif lived in several countries before she moved to London for three years. She received her first modelling assignment as a teenager and later pursued a career as a fashion model. At a fashion show in London, Indian filmmaker Kaizad Gustad cast her in Boom (2003), a critical and commercial failure. While Kaif established a successful modelling career in India, she initially had difficulty finding film roles due to her poor command of Hindi. After appearing in the Telugu film Malliswari (2004), Kaif earned commercial success in Bollywood with the romantic comedies Maine Pyaar Kyun Kiya? (2005) and Namastey London (2007). Further success followed with a series of box-office hits, but she was criticised for her acting, repetitive roles, and inclination to male-dominated films. Kaif's performances in the thriller New York (2009) and the romantic comedy Mere Brother Ki Dulhan (2011) were better received, earning her nominations for the Filmfare Award for Best Actress. She starred in Ajab Prem Ki Ghazab Kahani (2009), Raajneeti (2010), and Zindagi Na Milegi Dobara (2011) during this period, and found major commercial success in the action thrillers Ek Tha Tiger (2012), Dhoom 3 (2013), and Bang Bang! (2014), all of which rank among the highest-grossing Indian films. These were followed by a series of commercial failures, though the action films Tiger Zinda Hai (2017) and Sooryavanshi (2021) and the drama Bharat (2019) were box-office hits. Kaif's portrayal of an alcoholic actress in the romantic drama Zero (2018) earned her a Zee Cine Award for Best Supporting Actress. In the media, Kaif frequently features in listings of India's most popular and attractive celebrities. A regular brand endorser, she launched her cosmetic line Kay Beauty in 2019. She participates in stage shows and is involved with her mother's charity, which prevents female infanticide. Kaif is married to actor Vicky Kaushal. Early life Katrina Kaif was born in British Hong Kong with her mother's surname Turquotte (also spelt Turcotte), on 16 July 1983. Her father, Mohammed Kaif, is a British businessman of Kashmiri descent and her mother (Suzanne, also spelt Susanna) is an English lawyer and charity worker. She has seven siblings: three elder sisters named Stephanie, Christine, and Natasha; three younger sisters named Melissa, Sonia, and Isabel; and an elder brother named Sebastien. Isabel is also a model and actress. Kaif's parents divorced when she was a child, and her father moved to the United States. She said her father had no influence on her or her siblings while they were growing up, and that they were raised by their mother. In a 2009 interview with The Indian Express, she said she was not in touch with her father. Kaif's paternal parentage has been questioned by some members of the film industry. In a 2011 interview with Mumbai Mirror, Boom producer Ayesha Shroff accused Kaif of fabricating her history: "We created an identity for her. She was this pretty young English girl, and we gave her the Kashmiri father and thought of calling her Katrina Kazi. We thought we'd give her some kind of Indian ancestry, to connect with the audience ... But then we thought that Kazi sounded too ... religious? ... Mohammad Kaif was at the top, and so we said, Katrina Kaif sounds really great". Kaif denied this, calling Shroff's comments "hurtful". As Kaif's mother is a social activist, the family relocated to a number of countries for varying lengths of time. Therefore, Kaif and her siblings were home-schooled by a series of tutors. She said:Our transitions in growing up were—from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland—and I'm cutting out many East European countries where we were for only a few months each—then Poland in Kraków ... After that we went to Belgium, then to Hawaii, which was a short time, and then came to London. Kaif lived in London for three years before moving to India. At age14, Kaif won a beauty contest in Hawaii, and received her first modelling assignment in a jewellery campaign. She subsequently modelled professionally in London, working for freelance agencies and appearing regularly at the London Fashion Week. During this period, she visited India for the first time after an Asian friend suggested they take a trip there. Career Acting beginnings (2003–2005) At a fashion show Kaif attracted the attention of London-based filmmaker Kaizad Gustad. She made her acting debut in Gustad's Hindi-English heist film Boom starring Amitabh Bachchan, Gulshan Grover, Jackie Shroff, Madhu Sapre and Padma Lakshmi. While filming in India, Kaif received other offers and decided to stay in the country; she then changed her surname to her father's because she thought it would be easier to pronounce. She was noticed as a model after walking the ramp for Rohit Bal at the India Fashion Week and appeared in the first Kingfisher Calendar. After endorsing such brands as Coca-Cola, LG, Fevicol and Samsung, Kaif soon established a successful modelling career in India. Boom (2003) had its first screening at the Cannes Film Festival, where it was heavily promoted, but emerged as a commercial and critical failure. Kaif's portrayal of a supermodel ensnared in the Mumbai underworld was poorly received; Ziya Us Salam of The Hindu wrote of the weak performances by Kaif and the other female stars, criticising their inexpressiveness. She later dismissed Boom as an unimportant part of her career, ascribing her choice to her unawareness of Indian audiences' film taste then. Hindustan Times reported that after Boom's release, Kaif was written off due to her poor Hindi and thick British accent; as a result, filmmakers were hesitant in casting her in their films. Kaif soon began working on her diction through Hindi classes. In 2003, director Mahesh Bhatt replaced Kaif with Tara Sharma in Saaya as he found Kaif's acting on set subpar compared to her audition for the role. After the failure of her first Bollywood project, Kaif appeared in the Telugu film Malliswari (2004), in which she played the title role of a princess forced to flee from her murderous caretaker. Kaif received a reported salary of for the film, the highest for a female lead at the time in South Indian cinema; Sify attributed this achievement to her looks and figure. Despite negative reviews for her acting, she was nominated for a Filmfare Award for Best Actress – Telugu and received several film offers afterwards. Malliswari was a profitable venture. In 2005, Kaif appeared briefly as Abhishek Bachchan's girlfriend in Ram Gopal Varma's political thriller Sarkar. She next featured alongside Salman Khan, Sushmita Sen and Sohail Khan in Maine Pyaar Kyun Kiya?, a film she considered her "first real step into Bollywood". Directed by David Dhawan, the film was a successful remake of the romantic comedy Cactus Flower. For her role as a suicidal model, Kaif received the Stardust Award for Breakthrough Performance – Female. According to Sukanya Verma of Rediff.com, "Katrina's Disney princess-like charm adds to her adorable screen presence". Kaif followed with her second Telugu film, Allari Pidugu, in which she had "very little role to play and shake a leg or two with the hero", according to a critic from The Hindu. Breakthrough (2006–2008) In 2006, she appeared in Raj Kanwar's unsuccessful Humko Deewana Kar Gaye, which marked the first of her frequent collaborations with costar Akshay Kumar. It tells the story of two like-minded strangers who fall in love despite being engaged to others. A Sify critic wrote that Kaif was "passably competent in a tailor-made role, giving a mild emotional spin to a couple of scenes" but was overshadowed by her supporting actresses. The same year, Kaif played an actress with Mammootty in the Malayalam crime thriller Balram vs. Tharadas. Kaif's career prospects improved in 2007, when she appeared in four Bollywood hits. In an interview with The Indian Express, she called Vipul Amrutlal Shah's romantic comedy Namastey London her first dominating role. Kaif used her life in London as a reference for her role of Jasmeet Malhotra, a spoilt British Indian girl intent on marrying her self-centred British boyfriend despite her parents' disapproval. Although critics expressed mixed views on the film, Sukanya Verma wrote that Kaif "suits the role to the T" and "brings the zingy mix of her character alive with style and substance". Kaif's chemistry with co-star Akshay Kumar was particularly well received, with Nikhat Kazmi of The Times of India calling their casting "refreshing". Taran Adarsh from Bollywood Hungama found Kaif confident in Humko Deewana Kar Gaye and Namastey London and "a revelation" in the latter, praising her for being convincing in the complex scenes. In the book Indian Film Stars: New Critical Perspectives, author Michael Lawrence wrote that filmmakers' decision to cast Kaif as a non-resident Indian in several films, including Namastey London, was to capitalise on her foreign looks. Lawrence considered Kaif's Hindi with an English accent part of her appeal. Kaif had a supporting role as a doctor in the sports drama Apne, a highly anticipated release as it marked the first appearance of Dharmendra with his sons, Sunny Deol and Bobby Deol. After Apne she rejoined director David Dhawan and Salman Khan for the comedy Partner, a remake of Hitch which co-starred Govinda and Lara Dutta. With a worldwide revenue of , the film was a major financial success. Kaif's final film of the year was Anees Bazmee's comedy Welcome, alongside Akshay Kumar, Nana Patekar, Mallika Sherawat and Anil Kapoor. Although the film generated mostly negative reviews, it proved to be the second highest-grossing Bollywood film of 2007. The similarity of Kaif's roles was noted by Shoma Chaudhury of Tehelka, who called her "unabashed eye-candy", adding that she was "a pretty prop in Welcome" and "more of the same in Partner and Apne". In 2008, Kaif had three releases, the first of which was Abbas-Mustan's action thriller Race, a story about two stepbrothers-turned-rivals who are in contention for their father's insurance money. Kaif played Saif Ali Khan's secretary, who is his stepbrother's (Akshaye Khanna) lover. Nikhat Kazmi was appreciative of the film's look and action but found Kaif unimpressive in her role. Kaif rejoined Akshay Kumar in Anees Bazmee's action comedy Singh Is Kinng, which earned worldwide to become her sixth consecutive box-office success. However, she received mixed reviews for her performance. Rajeev Masand of CNN-News18 found Kaif "an eyesore in every sense of the word" and her acting weak. Kaif's final film of the year—Subhash Ghai's drama Yuvvraaj—was a major box-office failure. In preparation for her role as a cellist she practised with orchestra members. Her portrayal of a girl forbidden by her father from marrying her poor lover was well received by Sify's Sonia Chopra: "Katrina is wonderful, plays the cello convincingly, and looks ethereal." Despite the film's mixed critical reception, its screenplay was added to the library of the Academy of Motion Picture Arts and Sciences for its artistic merit. Up until this point, Kaif's voice was dubbed over by voice artists in most of her films due to her lack of fluency in Hindi and other Indian languages. Although her films during this period were financially successful, critics noted that she played unimportant roles in them as they were generally male-dominated, whereas her performances were largely criticised. She justified choosing these glamorous roles as part of learning without any goal for a certain kind of film. When criticised for her reluctance to appear in smaller scale films to garner credibility as an actress, she responded: "I do not believe that you have to take off your make-up and look simple to prove you're an actress ... I'm not going to make a morose film, which no one will watch just so people take me seriously as an actress." Kaif participated in Shah Rukh Khan's "Temptations Reloaded" world concert tour in 2008. Also featuring Kareena Kapoor and Arjun Rampal, the tour began in Amsterdam in June and ended four months later in Dubai's Festival City Arena before an audience of 15,000. Mainstream success (2009–2012) After a string of films in which she was cast in glamourous, "arm candy" roles, Kaif began looking for more substantial parts. One such opportunity arose with Kabir Khan's terrorism drama New York (2009). Costarring John Abraham and Neil Nitin Mukesh, the film follows the lives of three friends when one of them is wrongly detained after 9/11. Kaif played Maya, a college student who unknowingly marries a terrorist. Having faced racial discrimination when she was in London, Kaif identified with the character's experiences. New York performed well at the box office and received favourable reviews. According to Subhash K. Jha, Kaif was successful as an actress in a substantial role and convincingly portrayed her character's transition from a carefree student to a tormented wife. A reviewer for The Times of India considered it to be her career's best performance. New York brought Kaif her first Filmfare Award nomination for Best Actress. She then appeared in a cameo for India's first underwater thriller Blue. Kaif starred with Ranbir Kapoor in Rajkumar Santoshi's hit comedy, Ajab Prem Ki Ghazab Kahani (2009), as an orphan forced to marry a rich man. Taran Adarsh of Bollywood Hungama praised the actors' energetic pairing and found that Kaif performed well in both emotional and light scenes. Her final film of the year was Priyadarshan's comedy De Dana Dan. She performed with Akon at the closing ceremony of the 2009 Indian Premier League at the Wanderers Stadium in Johannesburg, In 2010, Kaif appeared in Prakash Jha's political thriller Raajneeti as part of an ensemble cast which included Ranbir Kapoor, Ajay Devgan, Arjun Rampal, Nana Patekar, Manoj Bajpai and Sarah Thompson. The film took inspiration from The Mahabharata and Mario Puzo's 1969 novel The Godfather. Set in Bhopal, the film described a fiercely fought election campaign by two parties attempting to seize power with manipulation, corruption, and treachery. Kaif rejected the media's speculation that her character was based on Sonia Gandhi. In preparation for her role as Indu, a politician loosely based on Draupadi, she watched Priyanka Gandhi's election campaign videos to study the body language and interaction of politicians. The film received mainly positive reviews from critics. Rajeev Masand found Raajneeti "thrilling and gripping", though Namrata Joshi was critical of the film's depiction of women. Nikhat Kazmi considered Kaif's performance to be "carefree and camera-unconscious" and wrote that she "seems to slip into the high-powered shoes easily". The film was highly successful at the box office, receiving a total collection of . Kaif collaborated with Akshay Kumar for the sixth time in the slapstick comedy Tees Maar Khan (2010), in which she played an aspiring actress, the girlfriend of a criminal (Kumar). In the film, Kaif performed a popular item number titled "Sheila Ki Jawani". The song was choreographed by the film's director Farah Khan and for the belly dancing portion, Kaif was trained by expert Veronica D'Souza. In contrast to the song's popularity, Tees Maar Khan was panned by critics and its box-office performance was poor. Kaif's portrayal was not well received; Renuka Rao of Daily News and Analysis found her "drama queen act" poor but noted that she was exceptional in the item number. The following year, Kaif was paired with Hrithik Roshan in Zoya Akhtar's coming-of-age dramedy Zindagi Na Milegi Dobara. The film narrates the story of three friends on a bachelor trip and features Kaif as Laila, a diving instructor who becomes romantically involved with Roshan's character and inspires him overcome his workaholism. She had difficulty filming her scuba diving scene due to her inexperience; she was so scared she dug her nails into costar Roshan. The film was a critical and commercial success. Richard Kuipers of Variety commented that she is "delightful" in the role of a cordial young woman who encourages others to confront their weaknesses. Zindagi Na Milegi Dobara received numerous Best Film accolades. The romantic comedy Mere Brother Ki Dulhan (2011), produced by Yash Raj Films, starred Kaif alongside Imran Khan and Ali Zafar. She found herself challenged by the role of Dimple Dixit, whose loquacious and unpredictable nature strongly contrasted with Kaif's personality. The film opened to mixed reviews, but Kaif was generally praised for her portrayal. The book Mother Maiden Mistress calls Dimple one of the more interesting female characters of the year. According to Gaurav Malani of The Economic Times, the film is mainly watchable for "Katrina's live-wire energy wherein she never goes overboard and keeps bustling with vivacity through the runtime." For this performance, Kaif received her second Filmfare nomination in the Best Actress category. In 2012, Kaif appeared in "Chikni Chameli", an item number in Agneepath that incorporated dance steps from the Lavani genre (a Maharashtrian folk dance). Filming the music video, which finished in ten days, proved challenging for Kaif, as its style was new to her. Rachit Gupta of Filmfare attributed the song's success partly to her "infectious energy", noting her "gyrations and belly movements were an onslaught of attraction for the fans". Kaif appeared next in Kabir Khan's espionage thriller Ek Tha Tiger as a Pakistani ISI agent who falls in love with an Indian RAW agent. The film received predominantly positive reviews, with Aniruddha Guha of Daily News and Analysis calling it "smart and stylish". Shubhra Gupta of The Indian Express wrote about her performance: "Katrina is an able, animated foil to Salman, her long legs making her leaps and kicks credible". With worldwide earnings of , Ek Tha Tiger was the highest-grossing Bollywood film of the year. Later in the year, Kaif was paired with Shah Rukh Khan in Yash Chopra's swan song, the romance Jab Tak Hai Jaan. She expressed her excitement at working with Chopra, saying he "undoubtedly is the king of romance and I have always admired the way he presents his heroines. It was always a dream to work with him and the reality is even better." She played Meera, a woman who vows to end her affair with her comatose lover if he survives. Although the film received mostly positive reviews, Kaif's performance had a mixed reception. CNN-News18 deemed Kaif inexpressive in her part and found her struggling in emotional and complex scenes. Commercially, the film proved a box-office hit with revenues of worldwide. Fluctuations and current work (2013–present) Kaif rejoined Shah Rukh Khan for his 2013 "Temptations Reloaded" concert in Muscat, performing to an audience of over 18,000, and joined Shah Rukh Khan, Deepika Padukone and Pitbull in Kolkata for the opening ceremony of the 2013 IPL season. In 2013, she appeared briefly with Aamir Khan in Vijay Krishna Acharya's action thriller Dhoom 3. To prepare for her role as a circus performer, she undertook a year-long regimen of Pilates, functional training and aerial straps. The film received ambivalent reviews and Kaif was criticised for taking on an insubstantial part, though Taran Adarsh found her to be "ethereal" and "moving with incredible grace in dance numbers". Earning in box-office receipts, Dhoom 3 went on to become the highest-grossing Bollywood film of all time until it was surpassed by PK in 2014. Kaif's next appearance was in Siddharth Anand's Bang Bang! (2014), a remake of the 2010 action comedy Knight and Day. She played a bank receptionist who is unwittingly caught up with a secret agent (Hrithik Roshan). Raja Sen of Rediff.com disliked her performance, describing it as "insufferable". The film was commercially successful, though financial analysts observed that it had failed to meet box-office expectations. Kaif's sole appearance of 2015 was with Saif Ali Khan in Kabir Khan's Mumbai-based post 26/11 counter-terrorism drama Phantom. To prepare for the role of former RAW agent Nawaz Mistry, Kaif learned some Arabic. Phantom and Kaif's two releases the following year—Fitoor and Baar Baar Dekho—were commercial failures. Abhishek Kapoor's Fitoor is an adaptation of Charles Dickens' Great Expectations in which Kaif played a role based on Estella Havisham along with Aditya Roy Kapur and Tabu. Namrata Joshi found Kaif good in scenes where she dances, smiles or flirts but inadequate in dramatic parts. She was paired with Sidharth Malhotra in Nitya Mehra's science-fiction romance Baar Baar Dekho. Shubhra Gupta of The Indian Express found Kaif expressionless but praised her and Malhotra's energetic dance number in "Kala Chashma", which amassed over one billion views on YouTube. Also in 2016, she joined other Indian celebrities for the "Dream Team Tour", where they performed in various American cities. Kaif next acted opposite Ranbir Kapoor in Anurag Basu's comedy-adventure Jagga Jasoos. The film was released in 2017 after delays caused by changes in the script and multiple reshoots. The film opened to a mixed critical response and was a commercial disappointment. Mayank Shekhar from Mid-Day praised Kaif and Kapoor for being confident before the camera, but Saibal Chatterjee of NDTV noted Kaif's failed attempt to hold her own against Kapoor. In the same year, Kaif reteamed with Salman Khan, reprising the role of Zoya in Ali Abbas Zafar's action thriller Tiger Zinda Hai, a sequel to the 2012 film Ek Tha Tiger. The film premiered on the Christmas weekend to strong box office collections, grossing over ₹1.1 billion within three days of release. Rachit Gupta wrote that Kaif compensated for her limited dialogue by convincingly performing the scenes with hand-to-hand combat and gun fights, calling it "invigorating to see a lady kick-ass with so much élan and pull all the punches like they're real". A BBC article by Shubhra Gupta on Bollywood's objectification of female characters found Kaif's status as an action heroine refreshing. Kaif's two releases in 2018—the period action-adventure film Thugs of Hindostan and the romantic comedy-drama Zero—were made on lucrative budgets. Despite being among the most anticipated releases that year, both films were unsuccessful at the box office. With respect to the failure of the former, Kaif admitted to have not invested much in the project due to her limited screen time. In Aanand L Rai's Zero, she reunited with Shah Rukh Khan and Anushka Sharma after Jab Tak Hai Jaan. Kaif was initially hesitant about accepting the part of a second female lead but eventually agreed after Khan and Rai insisted. Though Zero received mixed reviews from critics, Kaif's portrayal of an alcoholic actress earned her critical praise; Udita Jhunjhunwala of Mint credited her for delivering "what could be considered her most authentic performance". Calling her one of Bollywood's "scene stealers" in 2018, Sukanya Verma thought Kaif was a "revelation" and her "constantly crying eyes, poker-faced cynicism and wholehearted submission to demeaning impulses underscore the fragility under the furore". For Zero, she received a Zee Cine Award for Best Supporting Actress and a Filmfare nomination in the same category. In 2019, Kaif once again collaborated with Salman Khan and Ali Abbas Zafar in the drama Bharat, an adaptation of the South Korean film Ode to My Father (2014). Kaif replaced Priyanka Chopra in the role of an engineer who falls in love with Khan's character. Kaif rejected media speculation that she accepted the part as a favour for her friend Khan and cited her appreciation of the script. Bharat became one of the highest-grossing Hindi films of 2019. While reviews of the film were varied, Mike McCahil of The Guardian noted the "well-tended chemistry" between Kaif and Khan and thought "the sincerity in her gaze" helped the audience ignore her character's questionable choices. Kaif's only 2020 film would have been Rohit Shetty's Sooryavanshi alongside Akshay Kumar, but the COVID-19 pandemic in India caused it several delays until its final November2021 release. An admirer of Shetty's larger-than-life directing style, Kaif played the wife of Kumar's character. Sooryavanshi was a box-office success, briefly becoming India's highest-grossing film of the year. Kaif will star in the comedy horror Phone Bhoot opposite Siddhant Chaturvedi and Ishaan Khatter, slated for release in July 2022. As of 2021, she is filming Tiger 3, the third instalment in the Tiger franchise, and Sriram Raghavan's Merry Christmas with Vijay Sethupathi. She has also committed to starring in Farhan Akhtar's Jee Le Zaraa, along with Priyanka Chopra and Alia Bhatt. Personal life Kaif has a close relationship with her family, and the lack of a father figure in her life has given her a sense of responsibility towards them. While Kaif's mother is Christian and her father is Muslim, Kaif says she was allowed to practise a faith of her choice and is a "firm believer in God". The Times of India reported in 2009 that she visits Siddhivinayak Temple, Mount Mary Church, and Sufi shrine Ajmer Sharif Dargah before her films are released. Kaif is reluctant to discuss her personal life, which has been the subject of media attention in India. "I have always believed that there is life before marriage and after marriage. Before marriage ... you are termed a single woman and I choose to conduct that part of my life with absolute dignity and discretion." Although rumors of a relationship with actor Salman Khan emerged in 2003, it was not until years after their breakup that Kaif spoke of it, calling it her first serious relationship. They have remained friends, and she credits Khan for giving her confidence and guidance. Kaif was linked to actor Ranbir Kapoor during the filming of Ajab Prem Ki Ghazab Kahani. In August2013, photographs of Kapoor and Kaif on holidays were leaked by Stardust which were interpreted as confirmation of a romantic relationship. After the appearance of the photos, Kaif published an open letter stating that she was "upset, distressed and invaded" by the breach of privacy. They broke up in 2016. Kaif married actor Vicky Kaushal on 9December2021 at Six Senses Resort, Fort Barwara in Sawai Madhopur, Rajasthan. Their wedding was the subject of wide media coverage in India. Philanthropy Kaif has garnered praise from The Times of India for her philanthropic work while maintaining a low-profile about it. Vocal about women's issues, Kaif is involved with Relief Projects India, a charitable trust run by her mother which rescues abandoned baby girls and works to prevent female infanticide. Kaif's winnings from the game shows 10 Ka Dum and Kaun Banega Crorepati were donated to her mother's Mercy Home orphanage. She has also been vocal about gender inequality, marital rape and female education in rural India. In 2010, Kaif was one of several celebrities who created promotional messages for Pearls Wave Trust, which campaigns against violence and abuse of women and girls. Discussing gender pay gap in 2019, she spoke in favour of more big-budget, female-dominated Bollywood films. In 2007, Kaif joined the efforts of the United Nations Office on Drugs and Crime (UNODC) to curb human trafficking in India. In 2009 and 2010, Kaif also walked the ramp for charity as part of Salman Khan's "Being Human" show. To raise funds for a new school in Madurai, she recorded Rhyme Skool (2010), an album of nursery rhymes composed by A. R. Rahman. Kaif visited sepoys in Jammu as part of NDTV's reality program Jai Jawan (2011). The following year she visited the Cancer Patients Aid Association to gift cancer survivors and increase public awareness of breast and cervical cancer. In 2013, she appeared alongside other celebrities in a commercial, produced by the National Film Development Corporation of India, to create awareness about children's education. In 2021, she donated an undisclosed amount of money to PM CARES Fund, a relief effort against the COVID-19 pandemic in India. Media image Kaif's Bollywood success has sparked an influx of foreign talents hoping to establish themselves in the industry. According to an India Today article, despite her dissimilarity to a conventional Bollywood heroine, Kaif "turned every adversity into opportunity and climbed the slippery pole of stardom". Alia Waheed of The Guardian wrote that Kaif "fitted the new trend for a more modern image of the Bollywood heroine" through her Western style. As part of a career analysis, Nivedita Mishra of Hindustan Times noted that despite initial poor command of the Hindi language and an unsuccessful acting debut, Kaif later took on roles in films that highlighted her "charming and jovial" screen presence. Mishra further said Kaif established herself as one of India's highest-paid actresses by accepting her limitations, emphasising strengths as an artist and making smart choices. In response to being stereotyped, Kaif spoke of believing in herself and using it as a motivation to do what she likes. Despite being a commercially successful film star, Kaif has received mixed reviews for her acting prowess. Writing for Firstpost, Anuya Jakatdar suggested that Kaif should accept challenging parts instead of "coasting on her co-star's box office appeal" and criticised her inclination towards glamorous roles. Khalid Mohamed of Khaleej Times similarly found her unwillingness to take risks by acting in independent films a weakness. Asked if she has a dream role, Kaif said she chooses scripts intuitively and does not have a preference for a particular genre. Kaif's dancing ability has received better reviews; she was described as one of Bollywood's best dancers by The Times of India and The Indian Express. Rachit Gupta hails her "the undisputed Queen of dance numbers in Bollywood". Initially reluctant to dance in films, Kaif has developed a love for dancing and later described it a joyful and relaxing experience. She spends several hours a day practising traditional dance. Kaif is cited in the media as one of India's most beautiful celebrities, and has ranked highly in polls choosing the most attractive Indian celebrities. She was named the "World's Sexiest Woman" by FHM India five times from 2008 to 2013, and appeared on Verves list of most powerful women in 2009 and 2010. The UK magazine Eastern Eye called her the "Sexiest Asian Woman" from 2008 to 2010, and again in 2013. Kaif was named The Times of Indias "Most Desirable Woman" in 2010, and was later ranked second from 2011 to 2013. In 2010 and 2011, Mattel released two sets of Barbie dolls modelled on Kaif. The Indian edition of People described her as "India's Most Beautiful Woman" in 2011 and three years later she topped Maxim Indias "Hot 100" poll. A life-size, wax figure of her was installed in London's Madame Tussauds in March2015, making her the eighth Bollywood actor to have been replicated as a wax statue there. Shikha Talwar of GQ India commented on Kaif's "enviable physique", which she attributed to her workout routines and healthy diet. Journalists from The Hindu and Hindustan Times took note of her "trademark elegance and simplistic style" and the "sense of originality and immense grace" in her fashion. In 2019, Kaif launched her cosmetic brand Kay Beauty, selling products like nail paints, lip and face highlighters, eye shadows, and foundations. Speaking to Cosmopolitan, she said her brand aims to defy society's exclusive beauty standards and promote inclusivity and comfort in one's skin. Kaif is a celebrity spokesperson for a number of brands including Slice, Nakshatra, Lux, Panasonic, Lakmé and L'Oréal. The Economic Times ranked Kaif India's second most prominent endorser in 2012. Hindustan Times reported in 2014 that she received to for each endorsement, making her one of India's highest-paid celebrity endorsers. Kaif was included on Forbes list of India's best-known entertainers from 2012 to 2019, peaking at the ninth position in 2013 with an estimated annual income of . According to a 2021 Forbes India estimate, her net worth is . As of 2021, she is the tenth most-followed Bollywood celebrity on Instagram. Notes References Further reading External links 1983 births Living people British film actresses British female models British people of Indian descent British actresses of Indian descent English people of Kashmiri descent Age controversies Hong Kong film actresses Hong Kong people of Indian descent Hong Kong people of English descent British expatriates in India Actresses in Hindi cinema Actresses in Malayalam cinema Actresses in Telugu cinema European actresses in India European actresses in Bollywood Actresses of European descent in Indian films Actresses of European descent in Bollywood films 21st-century Hong Kong actresses 21st-century British actresses

C_88643f3e0cd847458876fd02cd03edcf_1

When did she settle in England?

When did Katrina Kaif settle in England?

Katrina Kaif

Katrina Kaif was born in Hong Kong with her mother's surname Turquotte (also spelt Turcotte), on 16 July 1983. According to the actress, her father (Mohammed Kaif) is a British businessman of Kashmiri Indian descent and her mother (Suzanne, also spelt Susanna) is an English lawyer and charity worker. She has seven siblings: three elder sisters (Stephanie, Christine, and Natasha), three younger sisters (Melissa, Sonia, and Isabel) and an elder brother, Michael. Isabelle Kaif is also a model and actress. Kaif's parents divorced when she was a child, and her father moved to the United States. She said her father had no influence on Kaif or her siblings while they were growing up, and they were raised by their mother. On her father's absence in her life, Kaif stated: "When I see friends who have wonderful fathers who are like pillars of support for their families, I say, if only I had that. But instead of complaining, I should be grateful for all the other things I have". In a 2009 interview with The Indian Express, she said she was not in touch with her father. Kaif says that her mother decided to "dedicate her life to social causes", which led to the family's relocation to a number of countries for varying lengths of time: Our transitions in growing up were--from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland--and I'm cutting out many East European countries where we were for only a few months each--then Poland in Krakow ... After that we went to Belgium, then to Hawaii, which was a short time, and then came to London. Due to their frequent relocation, Kaif and her siblings were home-schooled by a series of tutors. Although she is thought to have grown up in London, she lived there for only three years before moving to India. According to Kaif, she then changed her surname to her father's because she thought it would be easier to pronounce. Kaif's paternal parentage has been questioned by some members of the film industry. In a 2011 interview with Mumbai Mirror, Boom producer Ayesha Shroff accused Kaif of fabricating her history: "We created an identity for her. She was this pretty young English girl, and we gave her the Kashmiri father and thought of calling her Katrina Kazi. We thought we'd give her some kind of Indian ancestry, to connect with the audience ... But then we thought that Kazi sounded too ... religious? ... Mohammad Kaif was at the top, and so we said, Katrina Kaif sounds really great". Kaif called Shroff's comments "hurtful". CANNOTANSWER

Although she is thought to have grown up in London, she lived there for only three years before moving to India.

Katrina Kaif (; born Katrina Turquotte; 16 July 1983) is a British actress who works in Hindi-language films. One of the highest-paid actresses in India, she has received several accolades, including four Screen Awards and four Zee Cine Awards, in addition to three Filmfare nominations. Though she has received mixed reviews for her acting, she is noted for her dancing ability in various successful item numbers. Born in Hong Kong, Kaif lived in several countries before she moved to London for three years. She received her first modelling assignment as a teenager and later pursued a career as a fashion model. At a fashion show in London, Indian filmmaker Kaizad Gustad cast her in Boom (2003), a critical and commercial failure. While Kaif established a successful modelling career in India, she initially had difficulty finding film roles due to her poor command of Hindi. After appearing in the Telugu film Malliswari (2004), Kaif earned commercial success in Bollywood with the romantic comedies Maine Pyaar Kyun Kiya? (2005) and Namastey London (2007). Further success followed with a series of box-office hits, but she was criticised for her acting, repetitive roles, and inclination to male-dominated films. Kaif's performances in the thriller New York (2009) and the romantic comedy Mere Brother Ki Dulhan (2011) were better received, earning her nominations for the Filmfare Award for Best Actress. She starred in Ajab Prem Ki Ghazab Kahani (2009), Raajneeti (2010), and Zindagi Na Milegi Dobara (2011) during this period, and found major commercial success in the action thrillers Ek Tha Tiger (2012), Dhoom 3 (2013), and Bang Bang! (2014), all of which rank among the highest-grossing Indian films. These were followed by a series of commercial failures, though the action films Tiger Zinda Hai (2017) and Sooryavanshi (2021) and the drama Bharat (2019) were box-office hits. Kaif's portrayal of an alcoholic actress in the romantic drama Zero (2018) earned her a Zee Cine Award for Best Supporting Actress. In the media, Kaif frequently features in listings of India's most popular and attractive celebrities. A regular brand endorser, she launched her cosmetic line Kay Beauty in 2019. She participates in stage shows and is involved with her mother's charity, which prevents female infanticide. Kaif is married to actor Vicky Kaushal. Early life Katrina Kaif was born in British Hong Kong with her mother's surname Turquotte (also spelt Turcotte), on 16 July 1983. Her father, Mohammed Kaif, is a British businessman of Kashmiri descent and her mother (Suzanne, also spelt Susanna) is an English lawyer and charity worker. She has seven siblings: three elder sisters named Stephanie, Christine, and Natasha; three younger sisters named Melissa, Sonia, and Isabel; and an elder brother named Sebastien. Isabel is also a model and actress. Kaif's parents divorced when she was a child, and her father moved to the United States. She said her father had no influence on her or her siblings while they were growing up, and that they were raised by their mother. In a 2009 interview with The Indian Express, she said she was not in touch with her father. Kaif's paternal parentage has been questioned by some members of the film industry. In a 2011 interview with Mumbai Mirror, Boom producer Ayesha Shroff accused Kaif of fabricating her history: "We created an identity for her. She was this pretty young English girl, and we gave her the Kashmiri father and thought of calling her Katrina Kazi. We thought we'd give her some kind of Indian ancestry, to connect with the audience ... But then we thought that Kazi sounded too ... religious? ... Mohammad Kaif was at the top, and so we said, Katrina Kaif sounds really great". Kaif denied this, calling Shroff's comments "hurtful". As Kaif's mother is a social activist, the family relocated to a number of countries for varying lengths of time. Therefore, Kaif and her siblings were home-schooled by a series of tutors. She said:Our transitions in growing up were—from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland—and I'm cutting out many East European countries where we were for only a few months each—then Poland in Kraków ... After that we went to Belgium, then to Hawaii, which was a short time, and then came to London. Kaif lived in London for three years before moving to India. At age14, Kaif won a beauty contest in Hawaii, and received her first modelling assignment in a jewellery campaign. She subsequently modelled professionally in London, working for freelance agencies and appearing regularly at the London Fashion Week. During this period, she visited India for the first time after an Asian friend suggested they take a trip there. Career Acting beginnings (2003–2005) At a fashion show Kaif attracted the attention of London-based filmmaker Kaizad Gustad. She made her acting debut in Gustad's Hindi-English heist film Boom starring Amitabh Bachchan, Gulshan Grover, Jackie Shroff, Madhu Sapre and Padma Lakshmi. While filming in India, Kaif received other offers and decided to stay in the country; she then changed her surname to her father's because she thought it would be easier to pronounce. She was noticed as a model after walking the ramp for Rohit Bal at the India Fashion Week and appeared in the first Kingfisher Calendar. After endorsing such brands as Coca-Cola, LG, Fevicol and Samsung, Kaif soon established a successful modelling career in India. Boom (2003) had its first screening at the Cannes Film Festival, where it was heavily promoted, but emerged as a commercial and critical failure. Kaif's portrayal of a supermodel ensnared in the Mumbai underworld was poorly received; Ziya Us Salam of The Hindu wrote of the weak performances by Kaif and the other female stars, criticising their inexpressiveness. She later dismissed Boom as an unimportant part of her career, ascribing her choice to her unawareness of Indian audiences' film taste then. Hindustan Times reported that after Boom's release, Kaif was written off due to her poor Hindi and thick British accent; as a result, filmmakers were hesitant in casting her in their films. Kaif soon began working on her diction through Hindi classes. In 2003, director Mahesh Bhatt replaced Kaif with Tara Sharma in Saaya as he found Kaif's acting on set subpar compared to her audition for the role. After the failure of her first Bollywood project, Kaif appeared in the Telugu film Malliswari (2004), in which she played the title role of a princess forced to flee from her murderous caretaker. Kaif received a reported salary of for the film, the highest for a female lead at the time in South Indian cinema; Sify attributed this achievement to her looks and figure. Despite negative reviews for her acting, she was nominated for a Filmfare Award for Best Actress – Telugu and received several film offers afterwards. Malliswari was a profitable venture. In 2005, Kaif appeared briefly as Abhishek Bachchan's girlfriend in Ram Gopal Varma's political thriller Sarkar. She next featured alongside Salman Khan, Sushmita Sen and Sohail Khan in Maine Pyaar Kyun Kiya?, a film she considered her "first real step into Bollywood". Directed by David Dhawan, the film was a successful remake of the romantic comedy Cactus Flower. For her role as a suicidal model, Kaif received the Stardust Award for Breakthrough Performance – Female. According to Sukanya Verma of Rediff.com, "Katrina's Disney princess-like charm adds to her adorable screen presence". Kaif followed with her second Telugu film, Allari Pidugu, in which she had "very little role to play and shake a leg or two with the hero", according to a critic from The Hindu. Breakthrough (2006–2008) In 2006, she appeared in Raj Kanwar's unsuccessful Humko Deewana Kar Gaye, which marked the first of her frequent collaborations with costar Akshay Kumar. It tells the story of two like-minded strangers who fall in love despite being engaged to others. A Sify critic wrote that Kaif was "passably competent in a tailor-made role, giving a mild emotional spin to a couple of scenes" but was overshadowed by her supporting actresses. The same year, Kaif played an actress with Mammootty in the Malayalam crime thriller Balram vs. Tharadas. Kaif's career prospects improved in 2007, when she appeared in four Bollywood hits. In an interview with The Indian Express, she called Vipul Amrutlal Shah's romantic comedy Namastey London her first dominating role. Kaif used her life in London as a reference for her role of Jasmeet Malhotra, a spoilt British Indian girl intent on marrying her self-centred British boyfriend despite her parents' disapproval. Although critics expressed mixed views on the film, Sukanya Verma wrote that Kaif "suits the role to the T" and "brings the zingy mix of her character alive with style and substance". Kaif's chemistry with co-star Akshay Kumar was particularly well received, with Nikhat Kazmi of The Times of India calling their casting "refreshing". Taran Adarsh from Bollywood Hungama found Kaif confident in Humko Deewana Kar Gaye and Namastey London and "a revelation" in the latter, praising her for being convincing in the complex scenes. In the book Indian Film Stars: New Critical Perspectives, author Michael Lawrence wrote that filmmakers' decision to cast Kaif as a non-resident Indian in several films, including Namastey London, was to capitalise on her foreign looks. Lawrence considered Kaif's Hindi with an English accent part of her appeal. Kaif had a supporting role as a doctor in the sports drama Apne, a highly anticipated release as it marked the first appearance of Dharmendra with his sons, Sunny Deol and Bobby Deol. After Apne she rejoined director David Dhawan and Salman Khan for the comedy Partner, a remake of Hitch which co-starred Govinda and Lara Dutta. With a worldwide revenue of , the film was a major financial success. Kaif's final film of the year was Anees Bazmee's comedy Welcome, alongside Akshay Kumar, Nana Patekar, Mallika Sherawat and Anil Kapoor. Although the film generated mostly negative reviews, it proved to be the second highest-grossing Bollywood film of 2007. The similarity of Kaif's roles was noted by Shoma Chaudhury of Tehelka, who called her "unabashed eye-candy", adding that she was "a pretty prop in Welcome" and "more of the same in Partner and Apne". In 2008, Kaif had three releases, the first of which was Abbas-Mustan's action thriller Race, a story about two stepbrothers-turned-rivals who are in contention for their father's insurance money. Kaif played Saif Ali Khan's secretary, who is his stepbrother's (Akshaye Khanna) lover. Nikhat Kazmi was appreciative of the film's look and action but found Kaif unimpressive in her role. Kaif rejoined Akshay Kumar in Anees Bazmee's action comedy Singh Is Kinng, which earned worldwide to become her sixth consecutive box-office success. However, she received mixed reviews for her performance. Rajeev Masand of CNN-News18 found Kaif "an eyesore in every sense of the word" and her acting weak. Kaif's final film of the year—Subhash Ghai's drama Yuvvraaj—was a major box-office failure. In preparation for her role as a cellist she practised with orchestra members. Her portrayal of a girl forbidden by her father from marrying her poor lover was well received by Sify's Sonia Chopra: "Katrina is wonderful, plays the cello convincingly, and looks ethereal." Despite the film's mixed critical reception, its screenplay was added to the library of the Academy of Motion Picture Arts and Sciences for its artistic merit. Up until this point, Kaif's voice was dubbed over by voice artists in most of her films due to her lack of fluency in Hindi and other Indian languages. Although her films during this period were financially successful, critics noted that she played unimportant roles in them as they were generally male-dominated, whereas her performances were largely criticised. She justified choosing these glamorous roles as part of learning without any goal for a certain kind of film. When criticised for her reluctance to appear in smaller scale films to garner credibility as an actress, she responded: "I do not believe that you have to take off your make-up and look simple to prove you're an actress ... I'm not going to make a morose film, which no one will watch just so people take me seriously as an actress." Kaif participated in Shah Rukh Khan's "Temptations Reloaded" world concert tour in 2008. Also featuring Kareena Kapoor and Arjun Rampal, the tour began in Amsterdam in June and ended four months later in Dubai's Festival City Arena before an audience of 15,000. Mainstream success (2009–2012) After a string of films in which she was cast in glamourous, "arm candy" roles, Kaif began looking for more substantial parts. One such opportunity arose with Kabir Khan's terrorism drama New York (2009). Costarring John Abraham and Neil Nitin Mukesh, the film follows the lives of three friends when one of them is wrongly detained after 9/11. Kaif played Maya, a college student who unknowingly marries a terrorist. Having faced racial discrimination when she was in London, Kaif identified with the character's experiences. New York performed well at the box office and received favourable reviews. According to Subhash K. Jha, Kaif was successful as an actress in a substantial role and convincingly portrayed her character's transition from a carefree student to a tormented wife. A reviewer for The Times of India considered it to be her career's best performance. New York brought Kaif her first Filmfare Award nomination for Best Actress. She then appeared in a cameo for India's first underwater thriller Blue. Kaif starred with Ranbir Kapoor in Rajkumar Santoshi's hit comedy, Ajab Prem Ki Ghazab Kahani (2009), as an orphan forced to marry a rich man. Taran Adarsh of Bollywood Hungama praised the actors' energetic pairing and found that Kaif performed well in both emotional and light scenes. Her final film of the year was Priyadarshan's comedy De Dana Dan. She performed with Akon at the closing ceremony of the 2009 Indian Premier League at the Wanderers Stadium in Johannesburg, In 2010, Kaif appeared in Prakash Jha's political thriller Raajneeti as part of an ensemble cast which included Ranbir Kapoor, Ajay Devgan, Arjun Rampal, Nana Patekar, Manoj Bajpai and Sarah Thompson. The film took inspiration from The Mahabharata and Mario Puzo's 1969 novel The Godfather. Set in Bhopal, the film described a fiercely fought election campaign by two parties attempting to seize power with manipulation, corruption, and treachery. Kaif rejected the media's speculation that her character was based on Sonia Gandhi. In preparation for her role as Indu, a politician loosely based on Draupadi, she watched Priyanka Gandhi's election campaign videos to study the body language and interaction of politicians. The film received mainly positive reviews from critics. Rajeev Masand found Raajneeti "thrilling and gripping", though Namrata Joshi was critical of the film's depiction of women. Nikhat Kazmi considered Kaif's performance to be "carefree and camera-unconscious" and wrote that she "seems to slip into the high-powered shoes easily". The film was highly successful at the box office, receiving a total collection of . Kaif collaborated with Akshay Kumar for the sixth time in the slapstick comedy Tees Maar Khan (2010), in which she played an aspiring actress, the girlfriend of a criminal (Kumar). In the film, Kaif performed a popular item number titled "Sheila Ki Jawani". The song was choreographed by the film's director Farah Khan and for the belly dancing portion, Kaif was trained by expert Veronica D'Souza. In contrast to the song's popularity, Tees Maar Khan was panned by critics and its box-office performance was poor. Kaif's portrayal was not well received; Renuka Rao of Daily News and Analysis found her "drama queen act" poor but noted that she was exceptional in the item number. The following year, Kaif was paired with Hrithik Roshan in Zoya Akhtar's coming-of-age dramedy Zindagi Na Milegi Dobara. The film narrates the story of three friends on a bachelor trip and features Kaif as Laila, a diving instructor who becomes romantically involved with Roshan's character and inspires him overcome his workaholism. She had difficulty filming her scuba diving scene due to her inexperience; she was so scared she dug her nails into costar Roshan. The film was a critical and commercial success. Richard Kuipers of Variety commented that she is "delightful" in the role of a cordial young woman who encourages others to confront their weaknesses. Zindagi Na Milegi Dobara received numerous Best Film accolades. The romantic comedy Mere Brother Ki Dulhan (2011), produced by Yash Raj Films, starred Kaif alongside Imran Khan and Ali Zafar. She found herself challenged by the role of Dimple Dixit, whose loquacious and unpredictable nature strongly contrasted with Kaif's personality. The film opened to mixed reviews, but Kaif was generally praised for her portrayal. The book Mother Maiden Mistress calls Dimple one of the more interesting female characters of the year. According to Gaurav Malani of The Economic Times, the film is mainly watchable for "Katrina's live-wire energy wherein she never goes overboard and keeps bustling with vivacity through the runtime." For this performance, Kaif received her second Filmfare nomination in the Best Actress category. In 2012, Kaif appeared in "Chikni Chameli", an item number in Agneepath that incorporated dance steps from the Lavani genre (a Maharashtrian folk dance). Filming the music video, which finished in ten days, proved challenging for Kaif, as its style was new to her. Rachit Gupta of Filmfare attributed the song's success partly to her "infectious energy", noting her "gyrations and belly movements were an onslaught of attraction for the fans". Kaif appeared next in Kabir Khan's espionage thriller Ek Tha Tiger as a Pakistani ISI agent who falls in love with an Indian RAW agent. The film received predominantly positive reviews, with Aniruddha Guha of Daily News and Analysis calling it "smart and stylish". Shubhra Gupta of The Indian Express wrote about her performance: "Katrina is an able, animated foil to Salman, her long legs making her leaps and kicks credible". With worldwide earnings of , Ek Tha Tiger was the highest-grossing Bollywood film of the year. Later in the year, Kaif was paired with Shah Rukh Khan in Yash Chopra's swan song, the romance Jab Tak Hai Jaan. She expressed her excitement at working with Chopra, saying he "undoubtedly is the king of romance and I have always admired the way he presents his heroines. It was always a dream to work with him and the reality is even better." She played Meera, a woman who vows to end her affair with her comatose lover if he survives. Although the film received mostly positive reviews, Kaif's performance had a mixed reception. CNN-News18 deemed Kaif inexpressive in her part and found her struggling in emotional and complex scenes. Commercially, the film proved a box-office hit with revenues of worldwide. Fluctuations and current work (2013–present) Kaif rejoined Shah Rukh Khan for his 2013 "Temptations Reloaded" concert in Muscat, performing to an audience of over 18,000, and joined Shah Rukh Khan, Deepika Padukone and Pitbull in Kolkata for the opening ceremony of the 2013 IPL season. In 2013, she appeared briefly with Aamir Khan in Vijay Krishna Acharya's action thriller Dhoom 3. To prepare for her role as a circus performer, she undertook a year-long regimen of Pilates, functional training and aerial straps. The film received ambivalent reviews and Kaif was criticised for taking on an insubstantial part, though Taran Adarsh found her to be "ethereal" and "moving with incredible grace in dance numbers". Earning in box-office receipts, Dhoom 3 went on to become the highest-grossing Bollywood film of all time until it was surpassed by PK in 2014. Kaif's next appearance was in Siddharth Anand's Bang Bang! (2014), a remake of the 2010 action comedy Knight and Day. She played a bank receptionist who is unwittingly caught up with a secret agent (Hrithik Roshan). Raja Sen of Rediff.com disliked her performance, describing it as "insufferable". The film was commercially successful, though financial analysts observed that it had failed to meet box-office expectations. Kaif's sole appearance of 2015 was with Saif Ali Khan in Kabir Khan's Mumbai-based post 26/11 counter-terrorism drama Phantom. To prepare for the role of former RAW agent Nawaz Mistry, Kaif learned some Arabic. Phantom and Kaif's two releases the following year—Fitoor and Baar Baar Dekho—were commercial failures. Abhishek Kapoor's Fitoor is an adaptation of Charles Dickens' Great Expectations in which Kaif played a role based on Estella Havisham along with Aditya Roy Kapur and Tabu. Namrata Joshi found Kaif good in scenes where she dances, smiles or flirts but inadequate in dramatic parts. She was paired with Sidharth Malhotra in Nitya Mehra's science-fiction romance Baar Baar Dekho. Shubhra Gupta of The Indian Express found Kaif expressionless but praised her and Malhotra's energetic dance number in "Kala Chashma", which amassed over one billion views on YouTube. Also in 2016, she joined other Indian celebrities for the "Dream Team Tour", where they performed in various American cities. Kaif next acted opposite Ranbir Kapoor in Anurag Basu's comedy-adventure Jagga Jasoos. The film was released in 2017 after delays caused by changes in the script and multiple reshoots. The film opened to a mixed critical response and was a commercial disappointment. Mayank Shekhar from Mid-Day praised Kaif and Kapoor for being confident before the camera, but Saibal Chatterjee of NDTV noted Kaif's failed attempt to hold her own against Kapoor. In the same year, Kaif reteamed with Salman Khan, reprising the role of Zoya in Ali Abbas Zafar's action thriller Tiger Zinda Hai, a sequel to the 2012 film Ek Tha Tiger. The film premiered on the Christmas weekend to strong box office collections, grossing over ₹1.1 billion within three days of release. Rachit Gupta wrote that Kaif compensated for her limited dialogue by convincingly performing the scenes with hand-to-hand combat and gun fights, calling it "invigorating to see a lady kick-ass with so much élan and pull all the punches like they're real". A BBC article by Shubhra Gupta on Bollywood's objectification of female characters found Kaif's status as an action heroine refreshing. Kaif's two releases in 2018—the period action-adventure film Thugs of Hindostan and the romantic comedy-drama Zero—were made on lucrative budgets. Despite being among the most anticipated releases that year, both films were unsuccessful at the box office. With respect to the failure of the former, Kaif admitted to have not invested much in the project due to her limited screen time. In Aanand L Rai's Zero, she reunited with Shah Rukh Khan and Anushka Sharma after Jab Tak Hai Jaan. Kaif was initially hesitant about accepting the part of a second female lead but eventually agreed after Khan and Rai insisted. Though Zero received mixed reviews from critics, Kaif's portrayal of an alcoholic actress earned her critical praise; Udita Jhunjhunwala of Mint credited her for delivering "what could be considered her most authentic performance". Calling her one of Bollywood's "scene stealers" in 2018, Sukanya Verma thought Kaif was a "revelation" and her "constantly crying eyes, poker-faced cynicism and wholehearted submission to demeaning impulses underscore the fragility under the furore". For Zero, she received a Zee Cine Award for Best Supporting Actress and a Filmfare nomination in the same category. In 2019, Kaif once again collaborated with Salman Khan and Ali Abbas Zafar in the drama Bharat, an adaptation of the South Korean film Ode to My Father (2014). Kaif replaced Priyanka Chopra in the role of an engineer who falls in love with Khan's character. Kaif rejected media speculation that she accepted the part as a favour for her friend Khan and cited her appreciation of the script. Bharat became one of the highest-grossing Hindi films of 2019. While reviews of the film were varied, Mike McCahil of The Guardian noted the "well-tended chemistry" between Kaif and Khan and thought "the sincerity in her gaze" helped the audience ignore her character's questionable choices. Kaif's only 2020 film would have been Rohit Shetty's Sooryavanshi alongside Akshay Kumar, but the COVID-19 pandemic in India caused it several delays until its final November2021 release. An admirer of Shetty's larger-than-life directing style, Kaif played the wife of Kumar's character. Sooryavanshi was a box-office success, briefly becoming India's highest-grossing film of the year. Kaif will star in the comedy horror Phone Bhoot opposite Siddhant Chaturvedi and Ishaan Khatter, slated for release in July 2022. As of 2021, she is filming Tiger 3, the third instalment in the Tiger franchise, and Sriram Raghavan's Merry Christmas with Vijay Sethupathi. She has also committed to starring in Farhan Akhtar's Jee Le Zaraa, along with Priyanka Chopra and Alia Bhatt. Personal life Kaif has a close relationship with her family, and the lack of a father figure in her life has given her a sense of responsibility towards them. While Kaif's mother is Christian and her father is Muslim, Kaif says she was allowed to practise a faith of her choice and is a "firm believer in God". The Times of India reported in 2009 that she visits Siddhivinayak Temple, Mount Mary Church, and Sufi shrine Ajmer Sharif Dargah before her films are released. Kaif is reluctant to discuss her personal life, which has been the subject of media attention in India. "I have always believed that there is life before marriage and after marriage. Before marriage ... you are termed a single woman and I choose to conduct that part of my life with absolute dignity and discretion." Although rumors of a relationship with actor Salman Khan emerged in 2003, it was not until years after their breakup that Kaif spoke of it, calling it her first serious relationship. They have remained friends, and she credits Khan for giving her confidence and guidance. Kaif was linked to actor Ranbir Kapoor during the filming of Ajab Prem Ki Ghazab Kahani. In August2013, photographs of Kapoor and Kaif on holidays were leaked by Stardust which were interpreted as confirmation of a romantic relationship. After the appearance of the photos, Kaif published an open letter stating that she was "upset, distressed and invaded" by the breach of privacy. They broke up in 2016. Kaif married actor Vicky Kaushal on 9December2021 at Six Senses Resort, Fort Barwara in Sawai Madhopur, Rajasthan. Their wedding was the subject of wide media coverage in India. Philanthropy Kaif has garnered praise from The Times of India for her philanthropic work while maintaining a low-profile about it. Vocal about women's issues, Kaif is involved with Relief Projects India, a charitable trust run by her mother which rescues abandoned baby girls and works to prevent female infanticide. Kaif's winnings from the game shows 10 Ka Dum and Kaun Banega Crorepati were donated to her mother's Mercy Home orphanage. She has also been vocal about gender inequality, marital rape and female education in rural India. In 2010, Kaif was one of several celebrities who created promotional messages for Pearls Wave Trust, which campaigns against violence and abuse of women and girls. Discussing gender pay gap in 2019, she spoke in favour of more big-budget, female-dominated Bollywood films. In 2007, Kaif joined the efforts of the United Nations Office on Drugs and Crime (UNODC) to curb human trafficking in India. In 2009 and 2010, Kaif also walked the ramp for charity as part of Salman Khan's "Being Human" show. To raise funds for a new school in Madurai, she recorded Rhyme Skool (2010), an album of nursery rhymes composed by A. R. Rahman. Kaif visited sepoys in Jammu as part of NDTV's reality program Jai Jawan (2011). The following year she visited the Cancer Patients Aid Association to gift cancer survivors and increase public awareness of breast and cervical cancer. In 2013, she appeared alongside other celebrities in a commercial, produced by the National Film Development Corporation of India, to create awareness about children's education. In 2021, she donated an undisclosed amount of money to PM CARES Fund, a relief effort against the COVID-19 pandemic in India. Media image Kaif's Bollywood success has sparked an influx of foreign talents hoping to establish themselves in the industry. According to an India Today article, despite her dissimilarity to a conventional Bollywood heroine, Kaif "turned every adversity into opportunity and climbed the slippery pole of stardom". Alia Waheed of The Guardian wrote that Kaif "fitted the new trend for a more modern image of the Bollywood heroine" through her Western style. As part of a career analysis, Nivedita Mishra of Hindustan Times noted that despite initial poor command of the Hindi language and an unsuccessful acting debut, Kaif later took on roles in films that highlighted her "charming and jovial" screen presence. Mishra further said Kaif established herself as one of India's highest-paid actresses by accepting her limitations, emphasising strengths as an artist and making smart choices. In response to being stereotyped, Kaif spoke of believing in herself and using it as a motivation to do what she likes. Despite being a commercially successful film star, Kaif has received mixed reviews for her acting prowess. Writing for Firstpost, Anuya Jakatdar suggested that Kaif should accept challenging parts instead of "coasting on her co-star's box office appeal" and criticised her inclination towards glamorous roles. Khalid Mohamed of Khaleej Times similarly found her unwillingness to take risks by acting in independent films a weakness. Asked if she has a dream role, Kaif said she chooses scripts intuitively and does not have a preference for a particular genre. Kaif's dancing ability has received better reviews; she was described as one of Bollywood's best dancers by The Times of India and The Indian Express. Rachit Gupta hails her "the undisputed Queen of dance numbers in Bollywood". Initially reluctant to dance in films, Kaif has developed a love for dancing and later described it a joyful and relaxing experience. She spends several hours a day practising traditional dance. Kaif is cited in the media as one of India's most beautiful celebrities, and has ranked highly in polls choosing the most attractive Indian celebrities. She was named the "World's Sexiest Woman" by FHM India five times from 2008 to 2013, and appeared on Verves list of most powerful women in 2009 and 2010. The UK magazine Eastern Eye called her the "Sexiest Asian Woman" from 2008 to 2010, and again in 2013. Kaif was named The Times of Indias "Most Desirable Woman" in 2010, and was later ranked second from 2011 to 2013. In 2010 and 2011, Mattel released two sets of Barbie dolls modelled on Kaif. The Indian edition of People described her as "India's Most Beautiful Woman" in 2011 and three years later she topped Maxim Indias "Hot 100" poll. A life-size, wax figure of her was installed in London's Madame Tussauds in March2015, making her the eighth Bollywood actor to have been replicated as a wax statue there. Shikha Talwar of GQ India commented on Kaif's "enviable physique", which she attributed to her workout routines and healthy diet. Journalists from The Hindu and Hindustan Times took note of her "trademark elegance and simplistic style" and the "sense of originality and immense grace" in her fashion. In 2019, Kaif launched her cosmetic brand Kay Beauty, selling products like nail paints, lip and face highlighters, eye shadows, and foundations. Speaking to Cosmopolitan, she said her brand aims to defy society's exclusive beauty standards and promote inclusivity and comfort in one's skin. Kaif is a celebrity spokesperson for a number of brands including Slice, Nakshatra, Lux, Panasonic, Lakmé and L'Oréal. The Economic Times ranked Kaif India's second most prominent endorser in 2012. Hindustan Times reported in 2014 that she received to for each endorsement, making her one of India's highest-paid celebrity endorsers. Kaif was included on Forbes list of India's best-known entertainers from 2012 to 2019, peaking at the ninth position in 2013 with an estimated annual income of . According to a 2021 Forbes India estimate, her net worth is . As of 2021, she is the tenth most-followed Bollywood celebrity on Instagram. Notes References Further reading External links 1983 births Living people British film actresses British female models British people of Indian descent British actresses of Indian descent English people of Kashmiri descent Age controversies Hong Kong film actresses Hong Kong people of Indian descent Hong Kong people of English descent British expatriates in India Actresses in Hindi cinema Actresses in Malayalam cinema Actresses in Telugu cinema European actresses in India European actresses in Bollywood Actresses of European descent in Indian films Actresses of European descent in Bollywood films 21st-century Hong Kong actresses 21st-century British actresses

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When did she start acting?

When did Katrina Kaif start acting?

Katrina Kaif

Katrina Kaif was born in Hong Kong with her mother's surname Turquotte (also spelt Turcotte), on 16 July 1983. According to the actress, her father (Mohammed Kaif) is a British businessman of Kashmiri Indian descent and her mother (Suzanne, also spelt Susanna) is an English lawyer and charity worker. She has seven siblings: three elder sisters (Stephanie, Christine, and Natasha), three younger sisters (Melissa, Sonia, and Isabel) and an elder brother, Michael. Isabelle Kaif is also a model and actress. Kaif's parents divorced when she was a child, and her father moved to the United States. She said her father had no influence on Kaif or her siblings while they were growing up, and they were raised by their mother. On her father's absence in her life, Kaif stated: "When I see friends who have wonderful fathers who are like pillars of support for their families, I say, if only I had that. But instead of complaining, I should be grateful for all the other things I have". In a 2009 interview with The Indian Express, she said she was not in touch with her father. Kaif says that her mother decided to "dedicate her life to social causes", which led to the family's relocation to a number of countries for varying lengths of time: Our transitions in growing up were--from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland--and I'm cutting out many East European countries where we were for only a few months each--then Poland in Krakow ... After that we went to Belgium, then to Hawaii, which was a short time, and then came to London. Due to their frequent relocation, Kaif and her siblings were home-schooled by a series of tutors. Although she is thought to have grown up in London, she lived there for only three years before moving to India. According to Kaif, she then changed her surname to her father's because she thought it would be easier to pronounce. Kaif's paternal parentage has been questioned by some members of the film industry. In a 2011 interview with Mumbai Mirror, Boom producer Ayesha Shroff accused Kaif of fabricating her history: "We created an identity for her. She was this pretty young English girl, and we gave her the Kashmiri father and thought of calling her Katrina Kazi. We thought we'd give her some kind of Indian ancestry, to connect with the audience ... But then we thought that Kazi sounded too ... religious? ... Mohammad Kaif was at the top, and so we said, Katrina Kaif sounds really great". Kaif called Shroff's comments "hurtful". CANNOTANSWER

CANNOTANSWER

Katrina Kaif (; born Katrina Turquotte; 16 July 1983) is a British actress who works in Hindi-language films. One of the highest-paid actresses in India, she has received several accolades, including four Screen Awards and four Zee Cine Awards, in addition to three Filmfare nominations. Though she has received mixed reviews for her acting, she is noted for her dancing ability in various successful item numbers. Born in Hong Kong, Kaif lived in several countries before she moved to London for three years. She received her first modelling assignment as a teenager and later pursued a career as a fashion model. At a fashion show in London, Indian filmmaker Kaizad Gustad cast her in Boom (2003), a critical and commercial failure. While Kaif established a successful modelling career in India, she initially had difficulty finding film roles due to her poor command of Hindi. After appearing in the Telugu film Malliswari (2004), Kaif earned commercial success in Bollywood with the romantic comedies Maine Pyaar Kyun Kiya? (2005) and Namastey London (2007). Further success followed with a series of box-office hits, but she was criticised for her acting, repetitive roles, and inclination to male-dominated films. Kaif's performances in the thriller New York (2009) and the romantic comedy Mere Brother Ki Dulhan (2011) were better received, earning her nominations for the Filmfare Award for Best Actress. She starred in Ajab Prem Ki Ghazab Kahani (2009), Raajneeti (2010), and Zindagi Na Milegi Dobara (2011) during this period, and found major commercial success in the action thrillers Ek Tha Tiger (2012), Dhoom 3 (2013), and Bang Bang! (2014), all of which rank among the highest-grossing Indian films. These were followed by a series of commercial failures, though the action films Tiger Zinda Hai (2017) and Sooryavanshi (2021) and the drama Bharat (2019) were box-office hits. Kaif's portrayal of an alcoholic actress in the romantic drama Zero (2018) earned her a Zee Cine Award for Best Supporting Actress. In the media, Kaif frequently features in listings of India's most popular and attractive celebrities. A regular brand endorser, she launched her cosmetic line Kay Beauty in 2019. She participates in stage shows and is involved with her mother's charity, which prevents female infanticide. Kaif is married to actor Vicky Kaushal. Early life Katrina Kaif was born in British Hong Kong with her mother's surname Turquotte (also spelt Turcotte), on 16 July 1983. Her father, Mohammed Kaif, is a British businessman of Kashmiri descent and her mother (Suzanne, also spelt Susanna) is an English lawyer and charity worker. She has seven siblings: three elder sisters named Stephanie, Christine, and Natasha; three younger sisters named Melissa, Sonia, and Isabel; and an elder brother named Sebastien. Isabel is also a model and actress. Kaif's parents divorced when she was a child, and her father moved to the United States. She said her father had no influence on her or her siblings while they were growing up, and that they were raised by their mother. In a 2009 interview with The Indian Express, she said she was not in touch with her father. Kaif's paternal parentage has been questioned by some members of the film industry. In a 2011 interview with Mumbai Mirror, Boom producer Ayesha Shroff accused Kaif of fabricating her history: "We created an identity for her. She was this pretty young English girl, and we gave her the Kashmiri father and thought of calling her Katrina Kazi. We thought we'd give her some kind of Indian ancestry, to connect with the audience ... But then we thought that Kazi sounded too ... religious? ... Mohammad Kaif was at the top, and so we said, Katrina Kaif sounds really great". Kaif denied this, calling Shroff's comments "hurtful". As Kaif's mother is a social activist, the family relocated to a number of countries for varying lengths of time. Therefore, Kaif and her siblings were home-schooled by a series of tutors. She said:Our transitions in growing up were—from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland—and I'm cutting out many East European countries where we were for only a few months each—then Poland in Kraków ... After that we went to Belgium, then to Hawaii, which was a short time, and then came to London. Kaif lived in London for three years before moving to India. At age14, Kaif won a beauty contest in Hawaii, and received her first modelling assignment in a jewellery campaign. She subsequently modelled professionally in London, working for freelance agencies and appearing regularly at the London Fashion Week. During this period, she visited India for the first time after an Asian friend suggested they take a trip there. Career Acting beginnings (2003–2005) At a fashion show Kaif attracted the attention of London-based filmmaker Kaizad Gustad. She made her acting debut in Gustad's Hindi-English heist film Boom starring Amitabh Bachchan, Gulshan Grover, Jackie Shroff, Madhu Sapre and Padma Lakshmi. While filming in India, Kaif received other offers and decided to stay in the country; she then changed her surname to her father's because she thought it would be easier to pronounce. She was noticed as a model after walking the ramp for Rohit Bal at the India Fashion Week and appeared in the first Kingfisher Calendar. After endorsing such brands as Coca-Cola, LG, Fevicol and Samsung, Kaif soon established a successful modelling career in India. Boom (2003) had its first screening at the Cannes Film Festival, where it was heavily promoted, but emerged as a commercial and critical failure. Kaif's portrayal of a supermodel ensnared in the Mumbai underworld was poorly received; Ziya Us Salam of The Hindu wrote of the weak performances by Kaif and the other female stars, criticising their inexpressiveness. She later dismissed Boom as an unimportant part of her career, ascribing her choice to her unawareness of Indian audiences' film taste then. Hindustan Times reported that after Boom's release, Kaif was written off due to her poor Hindi and thick British accent; as a result, filmmakers were hesitant in casting her in their films. Kaif soon began working on her diction through Hindi classes. In 2003, director Mahesh Bhatt replaced Kaif with Tara Sharma in Saaya as he found Kaif's acting on set subpar compared to her audition for the role. After the failure of her first Bollywood project, Kaif appeared in the Telugu film Malliswari (2004), in which she played the title role of a princess forced to flee from her murderous caretaker. Kaif received a reported salary of for the film, the highest for a female lead at the time in South Indian cinema; Sify attributed this achievement to her looks and figure. Despite negative reviews for her acting, she was nominated for a Filmfare Award for Best Actress – Telugu and received several film offers afterwards. Malliswari was a profitable venture. In 2005, Kaif appeared briefly as Abhishek Bachchan's girlfriend in Ram Gopal Varma's political thriller Sarkar. She next featured alongside Salman Khan, Sushmita Sen and Sohail Khan in Maine Pyaar Kyun Kiya?, a film she considered her "first real step into Bollywood". Directed by David Dhawan, the film was a successful remake of the romantic comedy Cactus Flower. For her role as a suicidal model, Kaif received the Stardust Award for Breakthrough Performance – Female. According to Sukanya Verma of Rediff.com, "Katrina's Disney princess-like charm adds to her adorable screen presence". Kaif followed with her second Telugu film, Allari Pidugu, in which she had "very little role to play and shake a leg or two with the hero", according to a critic from The Hindu. Breakthrough (2006–2008) In 2006, she appeared in Raj Kanwar's unsuccessful Humko Deewana Kar Gaye, which marked the first of her frequent collaborations with costar Akshay Kumar. It tells the story of two like-minded strangers who fall in love despite being engaged to others. A Sify critic wrote that Kaif was "passably competent in a tailor-made role, giving a mild emotional spin to a couple of scenes" but was overshadowed by her supporting actresses. The same year, Kaif played an actress with Mammootty in the Malayalam crime thriller Balram vs. Tharadas. Kaif's career prospects improved in 2007, when she appeared in four Bollywood hits. In an interview with The Indian Express, she called Vipul Amrutlal Shah's romantic comedy Namastey London her first dominating role. Kaif used her life in London as a reference for her role of Jasmeet Malhotra, a spoilt British Indian girl intent on marrying her self-centred British boyfriend despite her parents' disapproval. Although critics expressed mixed views on the film, Sukanya Verma wrote that Kaif "suits the role to the T" and "brings the zingy mix of her character alive with style and substance". Kaif's chemistry with co-star Akshay Kumar was particularly well received, with Nikhat Kazmi of The Times of India calling their casting "refreshing". Taran Adarsh from Bollywood Hungama found Kaif confident in Humko Deewana Kar Gaye and Namastey London and "a revelation" in the latter, praising her for being convincing in the complex scenes. In the book Indian Film Stars: New Critical Perspectives, author Michael Lawrence wrote that filmmakers' decision to cast Kaif as a non-resident Indian in several films, including Namastey London, was to capitalise on her foreign looks. Lawrence considered Kaif's Hindi with an English accent part of her appeal. Kaif had a supporting role as a doctor in the sports drama Apne, a highly anticipated release as it marked the first appearance of Dharmendra with his sons, Sunny Deol and Bobby Deol. After Apne she rejoined director David Dhawan and Salman Khan for the comedy Partner, a remake of Hitch which co-starred Govinda and Lara Dutta. With a worldwide revenue of , the film was a major financial success. Kaif's final film of the year was Anees Bazmee's comedy Welcome, alongside Akshay Kumar, Nana Patekar, Mallika Sherawat and Anil Kapoor. Although the film generated mostly negative reviews, it proved to be the second highest-grossing Bollywood film of 2007. The similarity of Kaif's roles was noted by Shoma Chaudhury of Tehelka, who called her "unabashed eye-candy", adding that she was "a pretty prop in Welcome" and "more of the same in Partner and Apne". In 2008, Kaif had three releases, the first of which was Abbas-Mustan's action thriller Race, a story about two stepbrothers-turned-rivals who are in contention for their father's insurance money. Kaif played Saif Ali Khan's secretary, who is his stepbrother's (Akshaye Khanna) lover. Nikhat Kazmi was appreciative of the film's look and action but found Kaif unimpressive in her role. Kaif rejoined Akshay Kumar in Anees Bazmee's action comedy Singh Is Kinng, which earned worldwide to become her sixth consecutive box-office success. However, she received mixed reviews for her performance. Rajeev Masand of CNN-News18 found Kaif "an eyesore in every sense of the word" and her acting weak. Kaif's final film of the year—Subhash Ghai's drama Yuvvraaj—was a major box-office failure. In preparation for her role as a cellist she practised with orchestra members. Her portrayal of a girl forbidden by her father from marrying her poor lover was well received by Sify's Sonia Chopra: "Katrina is wonderful, plays the cello convincingly, and looks ethereal." Despite the film's mixed critical reception, its screenplay was added to the library of the Academy of Motion Picture Arts and Sciences for its artistic merit. Up until this point, Kaif's voice was dubbed over by voice artists in most of her films due to her lack of fluency in Hindi and other Indian languages. Although her films during this period were financially successful, critics noted that she played unimportant roles in them as they were generally male-dominated, whereas her performances were largely criticised. She justified choosing these glamorous roles as part of learning without any goal for a certain kind of film. When criticised for her reluctance to appear in smaller scale films to garner credibility as an actress, she responded: "I do not believe that you have to take off your make-up and look simple to prove you're an actress ... I'm not going to make a morose film, which no one will watch just so people take me seriously as an actress." Kaif participated in Shah Rukh Khan's "Temptations Reloaded" world concert tour in 2008. Also featuring Kareena Kapoor and Arjun Rampal, the tour began in Amsterdam in June and ended four months later in Dubai's Festival City Arena before an audience of 15,000. Mainstream success (2009–2012) After a string of films in which she was cast in glamourous, "arm candy" roles, Kaif began looking for more substantial parts. One such opportunity arose with Kabir Khan's terrorism drama New York (2009). Costarring John Abraham and Neil Nitin Mukesh, the film follows the lives of three friends when one of them is wrongly detained after 9/11. Kaif played Maya, a college student who unknowingly marries a terrorist. Having faced racial discrimination when she was in London, Kaif identified with the character's experiences. New York performed well at the box office and received favourable reviews. According to Subhash K. Jha, Kaif was successful as an actress in a substantial role and convincingly portrayed her character's transition from a carefree student to a tormented wife. A reviewer for The Times of India considered it to be her career's best performance. New York brought Kaif her first Filmfare Award nomination for Best Actress. She then appeared in a cameo for India's first underwater thriller Blue. Kaif starred with Ranbir Kapoor in Rajkumar Santoshi's hit comedy, Ajab Prem Ki Ghazab Kahani (2009), as an orphan forced to marry a rich man. Taran Adarsh of Bollywood Hungama praised the actors' energetic pairing and found that Kaif performed well in both emotional and light scenes. Her final film of the year was Priyadarshan's comedy De Dana Dan. She performed with Akon at the closing ceremony of the 2009 Indian Premier League at the Wanderers Stadium in Johannesburg, In 2010, Kaif appeared in Prakash Jha's political thriller Raajneeti as part of an ensemble cast which included Ranbir Kapoor, Ajay Devgan, Arjun Rampal, Nana Patekar, Manoj Bajpai and Sarah Thompson. The film took inspiration from The Mahabharata and Mario Puzo's 1969 novel The Godfather. Set in Bhopal, the film described a fiercely fought election campaign by two parties attempting to seize power with manipulation, corruption, and treachery. Kaif rejected the media's speculation that her character was based on Sonia Gandhi. In preparation for her role as Indu, a politician loosely based on Draupadi, she watched Priyanka Gandhi's election campaign videos to study the body language and interaction of politicians. The film received mainly positive reviews from critics. Rajeev Masand found Raajneeti "thrilling and gripping", though Namrata Joshi was critical of the film's depiction of women. Nikhat Kazmi considered Kaif's performance to be "carefree and camera-unconscious" and wrote that she "seems to slip into the high-powered shoes easily". The film was highly successful at the box office, receiving a total collection of . Kaif collaborated with Akshay Kumar for the sixth time in the slapstick comedy Tees Maar Khan (2010), in which she played an aspiring actress, the girlfriend of a criminal (Kumar). In the film, Kaif performed a popular item number titled "Sheila Ki Jawani". The song was choreographed by the film's director Farah Khan and for the belly dancing portion, Kaif was trained by expert Veronica D'Souza. In contrast to the song's popularity, Tees Maar Khan was panned by critics and its box-office performance was poor. Kaif's portrayal was not well received; Renuka Rao of Daily News and Analysis found her "drama queen act" poor but noted that she was exceptional in the item number. The following year, Kaif was paired with Hrithik Roshan in Zoya Akhtar's coming-of-age dramedy Zindagi Na Milegi Dobara. The film narrates the story of three friends on a bachelor trip and features Kaif as Laila, a diving instructor who becomes romantically involved with Roshan's character and inspires him overcome his workaholism. She had difficulty filming her scuba diving scene due to her inexperience; she was so scared she dug her nails into costar Roshan. The film was a critical and commercial success. Richard Kuipers of Variety commented that she is "delightful" in the role of a cordial young woman who encourages others to confront their weaknesses. Zindagi Na Milegi Dobara received numerous Best Film accolades. The romantic comedy Mere Brother Ki Dulhan (2011), produced by Yash Raj Films, starred Kaif alongside Imran Khan and Ali Zafar. She found herself challenged by the role of Dimple Dixit, whose loquacious and unpredictable nature strongly contrasted with Kaif's personality. The film opened to mixed reviews, but Kaif was generally praised for her portrayal. The book Mother Maiden Mistress calls Dimple one of the more interesting female characters of the year. According to Gaurav Malani of The Economic Times, the film is mainly watchable for "Katrina's live-wire energy wherein she never goes overboard and keeps bustling with vivacity through the runtime." For this performance, Kaif received her second Filmfare nomination in the Best Actress category. In 2012, Kaif appeared in "Chikni Chameli", an item number in Agneepath that incorporated dance steps from the Lavani genre (a Maharashtrian folk dance). Filming the music video, which finished in ten days, proved challenging for Kaif, as its style was new to her. Rachit Gupta of Filmfare attributed the song's success partly to her "infectious energy", noting her "gyrations and belly movements were an onslaught of attraction for the fans". Kaif appeared next in Kabir Khan's espionage thriller Ek Tha Tiger as a Pakistani ISI agent who falls in love with an Indian RAW agent. The film received predominantly positive reviews, with Aniruddha Guha of Daily News and Analysis calling it "smart and stylish". Shubhra Gupta of The Indian Express wrote about her performance: "Katrina is an able, animated foil to Salman, her long legs making her leaps and kicks credible". With worldwide earnings of , Ek Tha Tiger was the highest-grossing Bollywood film of the year. Later in the year, Kaif was paired with Shah Rukh Khan in Yash Chopra's swan song, the romance Jab Tak Hai Jaan. She expressed her excitement at working with Chopra, saying he "undoubtedly is the king of romance and I have always admired the way he presents his heroines. It was always a dream to work with him and the reality is even better." She played Meera, a woman who vows to end her affair with her comatose lover if he survives. Although the film received mostly positive reviews, Kaif's performance had a mixed reception. CNN-News18 deemed Kaif inexpressive in her part and found her struggling in emotional and complex scenes. Commercially, the film proved a box-office hit with revenues of worldwide. Fluctuations and current work (2013–present) Kaif rejoined Shah Rukh Khan for his 2013 "Temptations Reloaded" concert in Muscat, performing to an audience of over 18,000, and joined Shah Rukh Khan, Deepika Padukone and Pitbull in Kolkata for the opening ceremony of the 2013 IPL season. In 2013, she appeared briefly with Aamir Khan in Vijay Krishna Acharya's action thriller Dhoom 3. To prepare for her role as a circus performer, she undertook a year-long regimen of Pilates, functional training and aerial straps. The film received ambivalent reviews and Kaif was criticised for taking on an insubstantial part, though Taran Adarsh found her to be "ethereal" and "moving with incredible grace in dance numbers". Earning in box-office receipts, Dhoom 3 went on to become the highest-grossing Bollywood film of all time until it was surpassed by PK in 2014. Kaif's next appearance was in Siddharth Anand's Bang Bang! (2014), a remake of the 2010 action comedy Knight and Day. She played a bank receptionist who is unwittingly caught up with a secret agent (Hrithik Roshan). Raja Sen of Rediff.com disliked her performance, describing it as "insufferable". The film was commercially successful, though financial analysts observed that it had failed to meet box-office expectations. Kaif's sole appearance of 2015 was with Saif Ali Khan in Kabir Khan's Mumbai-based post 26/11 counter-terrorism drama Phantom. To prepare for the role of former RAW agent Nawaz Mistry, Kaif learned some Arabic. Phantom and Kaif's two releases the following year—Fitoor and Baar Baar Dekho—were commercial failures. Abhishek Kapoor's Fitoor is an adaptation of Charles Dickens' Great Expectations in which Kaif played a role based on Estella Havisham along with Aditya Roy Kapur and Tabu. Namrata Joshi found Kaif good in scenes where she dances, smiles or flirts but inadequate in dramatic parts. She was paired with Sidharth Malhotra in Nitya Mehra's science-fiction romance Baar Baar Dekho. Shubhra Gupta of The Indian Express found Kaif expressionless but praised her and Malhotra's energetic dance number in "Kala Chashma", which amassed over one billion views on YouTube. Also in 2016, she joined other Indian celebrities for the "Dream Team Tour", where they performed in various American cities. Kaif next acted opposite Ranbir Kapoor in Anurag Basu's comedy-adventure Jagga Jasoos. The film was released in 2017 after delays caused by changes in the script and multiple reshoots. The film opened to a mixed critical response and was a commercial disappointment. Mayank Shekhar from Mid-Day praised Kaif and Kapoor for being confident before the camera, but Saibal Chatterjee of NDTV noted Kaif's failed attempt to hold her own against Kapoor. In the same year, Kaif reteamed with Salman Khan, reprising the role of Zoya in Ali Abbas Zafar's action thriller Tiger Zinda Hai, a sequel to the 2012 film Ek Tha Tiger. The film premiered on the Christmas weekend to strong box office collections, grossing over ₹1.1 billion within three days of release. Rachit Gupta wrote that Kaif compensated for her limited dialogue by convincingly performing the scenes with hand-to-hand combat and gun fights, calling it "invigorating to see a lady kick-ass with so much élan and pull all the punches like they're real". A BBC article by Shubhra Gupta on Bollywood's objectification of female characters found Kaif's status as an action heroine refreshing. Kaif's two releases in 2018—the period action-adventure film Thugs of Hindostan and the romantic comedy-drama Zero—were made on lucrative budgets. Despite being among the most anticipated releases that year, both films were unsuccessful at the box office. With respect to the failure of the former, Kaif admitted to have not invested much in the project due to her limited screen time. In Aanand L Rai's Zero, she reunited with Shah Rukh Khan and Anushka Sharma after Jab Tak Hai Jaan. Kaif was initially hesitant about accepting the part of a second female lead but eventually agreed after Khan and Rai insisted. Though Zero received mixed reviews from critics, Kaif's portrayal of an alcoholic actress earned her critical praise; Udita Jhunjhunwala of Mint credited her for delivering "what could be considered her most authentic performance". Calling her one of Bollywood's "scene stealers" in 2018, Sukanya Verma thought Kaif was a "revelation" and her "constantly crying eyes, poker-faced cynicism and wholehearted submission to demeaning impulses underscore the fragility under the furore". For Zero, she received a Zee Cine Award for Best Supporting Actress and a Filmfare nomination in the same category. In 2019, Kaif once again collaborated with Salman Khan and Ali Abbas Zafar in the drama Bharat, an adaptation of the South Korean film Ode to My Father (2014). Kaif replaced Priyanka Chopra in the role of an engineer who falls in love with Khan's character. Kaif rejected media speculation that she accepted the part as a favour for her friend Khan and cited her appreciation of the script. Bharat became one of the highest-grossing Hindi films of 2019. While reviews of the film were varied, Mike McCahil of The Guardian noted the "well-tended chemistry" between Kaif and Khan and thought "the sincerity in her gaze" helped the audience ignore her character's questionable choices. Kaif's only 2020 film would have been Rohit Shetty's Sooryavanshi alongside Akshay Kumar, but the COVID-19 pandemic in India caused it several delays until its final November2021 release. An admirer of Shetty's larger-than-life directing style, Kaif played the wife of Kumar's character. Sooryavanshi was a box-office success, briefly becoming India's highest-grossing film of the year. Kaif will star in the comedy horror Phone Bhoot opposite Siddhant Chaturvedi and Ishaan Khatter, slated for release in July 2022. As of 2021, she is filming Tiger 3, the third instalment in the Tiger franchise, and Sriram Raghavan's Merry Christmas with Vijay Sethupathi. She has also committed to starring in Farhan Akhtar's Jee Le Zaraa, along with Priyanka Chopra and Alia Bhatt. Personal life Kaif has a close relationship with her family, and the lack of a father figure in her life has given her a sense of responsibility towards them. While Kaif's mother is Christian and her father is Muslim, Kaif says she was allowed to practise a faith of her choice and is a "firm believer in God". The Times of India reported in 2009 that she visits Siddhivinayak Temple, Mount Mary Church, and Sufi shrine Ajmer Sharif Dargah before her films are released. Kaif is reluctant to discuss her personal life, which has been the subject of media attention in India. "I have always believed that there is life before marriage and after marriage. Before marriage ... you are termed a single woman and I choose to conduct that part of my life with absolute dignity and discretion." Although rumors of a relationship with actor Salman Khan emerged in 2003, it was not until years after their breakup that Kaif spoke of it, calling it her first serious relationship. They have remained friends, and she credits Khan for giving her confidence and guidance. Kaif was linked to actor Ranbir Kapoor during the filming of Ajab Prem Ki Ghazab Kahani. In August2013, photographs of Kapoor and Kaif on holidays were leaked by Stardust which were interpreted as confirmation of a romantic relationship. After the appearance of the photos, Kaif published an open letter stating that she was "upset, distressed and invaded" by the breach of privacy. They broke up in 2016. Kaif married actor Vicky Kaushal on 9December2021 at Six Senses Resort, Fort Barwara in Sawai Madhopur, Rajasthan. Their wedding was the subject of wide media coverage in India. Philanthropy Kaif has garnered praise from The Times of India for her philanthropic work while maintaining a low-profile about it. Vocal about women's issues, Kaif is involved with Relief Projects India, a charitable trust run by her mother which rescues abandoned baby girls and works to prevent female infanticide. Kaif's winnings from the game shows 10 Ka Dum and Kaun Banega Crorepati were donated to her mother's Mercy Home orphanage. She has also been vocal about gender inequality, marital rape and female education in rural India. In 2010, Kaif was one of several celebrities who created promotional messages for Pearls Wave Trust, which campaigns against violence and abuse of women and girls. Discussing gender pay gap in 2019, she spoke in favour of more big-budget, female-dominated Bollywood films. In 2007, Kaif joined the efforts of the United Nations Office on Drugs and Crime (UNODC) to curb human trafficking in India. In 2009 and 2010, Kaif also walked the ramp for charity as part of Salman Khan's "Being Human" show. To raise funds for a new school in Madurai, she recorded Rhyme Skool (2010), an album of nursery rhymes composed by A. R. Rahman. Kaif visited sepoys in Jammu as part of NDTV's reality program Jai Jawan (2011). The following year she visited the Cancer Patients Aid Association to gift cancer survivors and increase public awareness of breast and cervical cancer. In 2013, she appeared alongside other celebrities in a commercial, produced by the National Film Development Corporation of India, to create awareness about children's education. In 2021, she donated an undisclosed amount of money to PM CARES Fund, a relief effort against the COVID-19 pandemic in India. Media image Kaif's Bollywood success has sparked an influx of foreign talents hoping to establish themselves in the industry. According to an India Today article, despite her dissimilarity to a conventional Bollywood heroine, Kaif "turned every adversity into opportunity and climbed the slippery pole of stardom". Alia Waheed of The Guardian wrote that Kaif "fitted the new trend for a more modern image of the Bollywood heroine" through her Western style. As part of a career analysis, Nivedita Mishra of Hindustan Times noted that despite initial poor command of the Hindi language and an unsuccessful acting debut, Kaif later took on roles in films that highlighted her "charming and jovial" screen presence. Mishra further said Kaif established herself as one of India's highest-paid actresses by accepting her limitations, emphasising strengths as an artist and making smart choices. In response to being stereotyped, Kaif spoke of believing in herself and using it as a motivation to do what she likes. Despite being a commercially successful film star, Kaif has received mixed reviews for her acting prowess. Writing for Firstpost, Anuya Jakatdar suggested that Kaif should accept challenging parts instead of "coasting on her co-star's box office appeal" and criticised her inclination towards glamorous roles. Khalid Mohamed of Khaleej Times similarly found her unwillingness to take risks by acting in independent films a weakness. Asked if she has a dream role, Kaif said she chooses scripts intuitively and does not have a preference for a particular genre. Kaif's dancing ability has received better reviews; she was described as one of Bollywood's best dancers by The Times of India and The Indian Express. Rachit Gupta hails her "the undisputed Queen of dance numbers in Bollywood". Initially reluctant to dance in films, Kaif has developed a love for dancing and later described it a joyful and relaxing experience. She spends several hours a day practising traditional dance. Kaif is cited in the media as one of India's most beautiful celebrities, and has ranked highly in polls choosing the most attractive Indian celebrities. She was named the "World's Sexiest Woman" by FHM India five times from 2008 to 2013, and appeared on Verves list of most powerful women in 2009 and 2010. The UK magazine Eastern Eye called her the "Sexiest Asian Woman" from 2008 to 2010, and again in 2013. Kaif was named The Times of Indias "Most Desirable Woman" in 2010, and was later ranked second from 2011 to 2013. In 2010 and 2011, Mattel released two sets of Barbie dolls modelled on Kaif. The Indian edition of People described her as "India's Most Beautiful Woman" in 2011 and three years later she topped Maxim Indias "Hot 100" poll. A life-size, wax figure of her was installed in London's Madame Tussauds in March2015, making her the eighth Bollywood actor to have been replicated as a wax statue there. Shikha Talwar of GQ India commented on Kaif's "enviable physique", which she attributed to her workout routines and healthy diet. Journalists from The Hindu and Hindustan Times took note of her "trademark elegance and simplistic style" and the "sense of originality and immense grace" in her fashion. In 2019, Kaif launched her cosmetic brand Kay Beauty, selling products like nail paints, lip and face highlighters, eye shadows, and foundations. Speaking to Cosmopolitan, she said her brand aims to defy society's exclusive beauty standards and promote inclusivity and comfort in one's skin. Kaif is a celebrity spokesperson for a number of brands including Slice, Nakshatra, Lux, Panasonic, Lakmé and L'Oréal. The Economic Times ranked Kaif India's second most prominent endorser in 2012. Hindustan Times reported in 2014 that she received to for each endorsement, making her one of India's highest-paid celebrity endorsers. Kaif was included on Forbes list of India's best-known entertainers from 2012 to 2019, peaking at the ninth position in 2013 with an estimated annual income of . According to a 2021 Forbes India estimate, her net worth is . As of 2021, she is the tenth most-followed Bollywood celebrity on Instagram. Notes References Further reading External links 1983 births Living people British film actresses British female models British people of Indian descent British actresses of Indian descent English people of Kashmiri descent Age controversies Hong Kong film actresses Hong Kong people of Indian descent Hong Kong people of English descent British expatriates in India Actresses in Hindi cinema Actresses in Malayalam cinema Actresses in Telugu cinema European actresses in India European actresses in Bollywood Actresses of European descent in Indian films Actresses of European descent in Bollywood films 21st-century Hong Kong actresses 21st-century British actresses

C_88643f3e0cd847458876fd02cd03edcf_1

Who are her parents?

Who are Katrina Kaif's parents?

Katrina Kaif

Katrina Kaif was born in Hong Kong with her mother's surname Turquotte (also spelt Turcotte), on 16 July 1983. According to the actress, her father (Mohammed Kaif) is a British businessman of Kashmiri Indian descent and her mother (Suzanne, also spelt Susanna) is an English lawyer and charity worker. She has seven siblings: three elder sisters (Stephanie, Christine, and Natasha), three younger sisters (Melissa, Sonia, and Isabel) and an elder brother, Michael. Isabelle Kaif is also a model and actress. Kaif's parents divorced when she was a child, and her father moved to the United States. She said her father had no influence on Kaif or her siblings while they were growing up, and they were raised by their mother. On her father's absence in her life, Kaif stated: "When I see friends who have wonderful fathers who are like pillars of support for their families, I say, if only I had that. But instead of complaining, I should be grateful for all the other things I have". In a 2009 interview with The Indian Express, she said she was not in touch with her father. Kaif says that her mother decided to "dedicate her life to social causes", which led to the family's relocation to a number of countries for varying lengths of time: Our transitions in growing up were--from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland--and I'm cutting out many East European countries where we were for only a few months each--then Poland in Krakow ... After that we went to Belgium, then to Hawaii, which was a short time, and then came to London. Due to their frequent relocation, Kaif and her siblings were home-schooled by a series of tutors. Although she is thought to have grown up in London, she lived there for only three years before moving to India. According to Kaif, she then changed her surname to her father's because she thought it would be easier to pronounce. Kaif's paternal parentage has been questioned by some members of the film industry. In a 2011 interview with Mumbai Mirror, Boom producer Ayesha Shroff accused Kaif of fabricating her history: "We created an identity for her. She was this pretty young English girl, and we gave her the Kashmiri father and thought of calling her Katrina Kazi. We thought we'd give her some kind of Indian ancestry, to connect with the audience ... But then we thought that Kazi sounded too ... religious? ... Mohammad Kaif was at the top, and so we said, Katrina Kaif sounds really great". Kaif called Shroff's comments "hurtful". CANNOTANSWER

(Mohammed Kaif) is a British businessman of Kashmiri Indian descent and her mother (Suzanne, also spelt Susanna)

Katrina Kaif (; born Katrina Turquotte; 16 July 1983) is a British actress who works in Hindi-language films. One of the highest-paid actresses in India, she has received several accolades, including four Screen Awards and four Zee Cine Awards, in addition to three Filmfare nominations. Though she has received mixed reviews for her acting, she is noted for her dancing ability in various successful item numbers. Born in Hong Kong, Kaif lived in several countries before she moved to London for three years. She received her first modelling assignment as a teenager and later pursued a career as a fashion model. At a fashion show in London, Indian filmmaker Kaizad Gustad cast her in Boom (2003), a critical and commercial failure. While Kaif established a successful modelling career in India, she initially had difficulty finding film roles due to her poor command of Hindi. After appearing in the Telugu film Malliswari (2004), Kaif earned commercial success in Bollywood with the romantic comedies Maine Pyaar Kyun Kiya? (2005) and Namastey London (2007). Further success followed with a series of box-office hits, but she was criticised for her acting, repetitive roles, and inclination to male-dominated films. Kaif's performances in the thriller New York (2009) and the romantic comedy Mere Brother Ki Dulhan (2011) were better received, earning her nominations for the Filmfare Award for Best Actress. She starred in Ajab Prem Ki Ghazab Kahani (2009), Raajneeti (2010), and Zindagi Na Milegi Dobara (2011) during this period, and found major commercial success in the action thrillers Ek Tha Tiger (2012), Dhoom 3 (2013), and Bang Bang! (2014), all of which rank among the highest-grossing Indian films. These were followed by a series of commercial failures, though the action films Tiger Zinda Hai (2017) and Sooryavanshi (2021) and the drama Bharat (2019) were box-office hits. Kaif's portrayal of an alcoholic actress in the romantic drama Zero (2018) earned her a Zee Cine Award for Best Supporting Actress. In the media, Kaif frequently features in listings of India's most popular and attractive celebrities. A regular brand endorser, she launched her cosmetic line Kay Beauty in 2019. She participates in stage shows and is involved with her mother's charity, which prevents female infanticide. Kaif is married to actor Vicky Kaushal. Early life Katrina Kaif was born in British Hong Kong with her mother's surname Turquotte (also spelt Turcotte), on 16 July 1983. Her father, Mohammed Kaif, is a British businessman of Kashmiri descent and her mother (Suzanne, also spelt Susanna) is an English lawyer and charity worker. She has seven siblings: three elder sisters named Stephanie, Christine, and Natasha; three younger sisters named Melissa, Sonia, and Isabel; and an elder brother named Sebastien. Isabel is also a model and actress. Kaif's parents divorced when she was a child, and her father moved to the United States. She said her father had no influence on her or her siblings while they were growing up, and that they were raised by their mother. In a 2009 interview with The Indian Express, she said she was not in touch with her father. Kaif's paternal parentage has been questioned by some members of the film industry. In a 2011 interview with Mumbai Mirror, Boom producer Ayesha Shroff accused Kaif of fabricating her history: "We created an identity for her. She was this pretty young English girl, and we gave her the Kashmiri father and thought of calling her Katrina Kazi. We thought we'd give her some kind of Indian ancestry, to connect with the audience ... But then we thought that Kazi sounded too ... religious? ... Mohammad Kaif was at the top, and so we said, Katrina Kaif sounds really great". Kaif denied this, calling Shroff's comments "hurtful". As Kaif's mother is a social activist, the family relocated to a number of countries for varying lengths of time. Therefore, Kaif and her siblings were home-schooled by a series of tutors. She said:Our transitions in growing up were—from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland—and I'm cutting out many East European countries where we were for only a few months each—then Poland in Kraków ... After that we went to Belgium, then to Hawaii, which was a short time, and then came to London. Kaif lived in London for three years before moving to India. At age14, Kaif won a beauty contest in Hawaii, and received her first modelling assignment in a jewellery campaign. She subsequently modelled professionally in London, working for freelance agencies and appearing regularly at the London Fashion Week. During this period, she visited India for the first time after an Asian friend suggested they take a trip there. Career Acting beginnings (2003–2005) At a fashion show Kaif attracted the attention of London-based filmmaker Kaizad Gustad. She made her acting debut in Gustad's Hindi-English heist film Boom starring Amitabh Bachchan, Gulshan Grover, Jackie Shroff, Madhu Sapre and Padma Lakshmi. While filming in India, Kaif received other offers and decided to stay in the country; she then changed her surname to her father's because she thought it would be easier to pronounce. She was noticed as a model after walking the ramp for Rohit Bal at the India Fashion Week and appeared in the first Kingfisher Calendar. After endorsing such brands as Coca-Cola, LG, Fevicol and Samsung, Kaif soon established a successful modelling career in India. Boom (2003) had its first screening at the Cannes Film Festival, where it was heavily promoted, but emerged as a commercial and critical failure. Kaif's portrayal of a supermodel ensnared in the Mumbai underworld was poorly received; Ziya Us Salam of The Hindu wrote of the weak performances by Kaif and the other female stars, criticising their inexpressiveness. She later dismissed Boom as an unimportant part of her career, ascribing her choice to her unawareness of Indian audiences' film taste then. Hindustan Times reported that after Boom's release, Kaif was written off due to her poor Hindi and thick British accent; as a result, filmmakers were hesitant in casting her in their films. Kaif soon began working on her diction through Hindi classes. In 2003, director Mahesh Bhatt replaced Kaif with Tara Sharma in Saaya as he found Kaif's acting on set subpar compared to her audition for the role. After the failure of her first Bollywood project, Kaif appeared in the Telugu film Malliswari (2004), in which she played the title role of a princess forced to flee from her murderous caretaker. Kaif received a reported salary of for the film, the highest for a female lead at the time in South Indian cinema; Sify attributed this achievement to her looks and figure. Despite negative reviews for her acting, she was nominated for a Filmfare Award for Best Actress – Telugu and received several film offers afterwards. Malliswari was a profitable venture. In 2005, Kaif appeared briefly as Abhishek Bachchan's girlfriend in Ram Gopal Varma's political thriller Sarkar. She next featured alongside Salman Khan, Sushmita Sen and Sohail Khan in Maine Pyaar Kyun Kiya?, a film she considered her "first real step into Bollywood". Directed by David Dhawan, the film was a successful remake of the romantic comedy Cactus Flower. For her role as a suicidal model, Kaif received the Stardust Award for Breakthrough Performance – Female. According to Sukanya Verma of Rediff.com, "Katrina's Disney princess-like charm adds to her adorable screen presence". Kaif followed with her second Telugu film, Allari Pidugu, in which she had "very little role to play and shake a leg or two with the hero", according to a critic from The Hindu. Breakthrough (2006–2008) In 2006, she appeared in Raj Kanwar's unsuccessful Humko Deewana Kar Gaye, which marked the first of her frequent collaborations with costar Akshay Kumar. It tells the story of two like-minded strangers who fall in love despite being engaged to others. A Sify critic wrote that Kaif was "passably competent in a tailor-made role, giving a mild emotional spin to a couple of scenes" but was overshadowed by her supporting actresses. The same year, Kaif played an actress with Mammootty in the Malayalam crime thriller Balram vs. Tharadas. Kaif's career prospects improved in 2007, when she appeared in four Bollywood hits. In an interview with The Indian Express, she called Vipul Amrutlal Shah's romantic comedy Namastey London her first dominating role. Kaif used her life in London as a reference for her role of Jasmeet Malhotra, a spoilt British Indian girl intent on marrying her self-centred British boyfriend despite her parents' disapproval. Although critics expressed mixed views on the film, Sukanya Verma wrote that Kaif "suits the role to the T" and "brings the zingy mix of her character alive with style and substance". Kaif's chemistry with co-star Akshay Kumar was particularly well received, with Nikhat Kazmi of The Times of India calling their casting "refreshing". Taran Adarsh from Bollywood Hungama found Kaif confident in Humko Deewana Kar Gaye and Namastey London and "a revelation" in the latter, praising her for being convincing in the complex scenes. In the book Indian Film Stars: New Critical Perspectives, author Michael Lawrence wrote that filmmakers' decision to cast Kaif as a non-resident Indian in several films, including Namastey London, was to capitalise on her foreign looks. Lawrence considered Kaif's Hindi with an English accent part of her appeal. Kaif had a supporting role as a doctor in the sports drama Apne, a highly anticipated release as it marked the first appearance of Dharmendra with his sons, Sunny Deol and Bobby Deol. After Apne she rejoined director David Dhawan and Salman Khan for the comedy Partner, a remake of Hitch which co-starred Govinda and Lara Dutta. With a worldwide revenue of , the film was a major financial success. Kaif's final film of the year was Anees Bazmee's comedy Welcome, alongside Akshay Kumar, Nana Patekar, Mallika Sherawat and Anil Kapoor. Although the film generated mostly negative reviews, it proved to be the second highest-grossing Bollywood film of 2007. The similarity of Kaif's roles was noted by Shoma Chaudhury of Tehelka, who called her "unabashed eye-candy", adding that she was "a pretty prop in Welcome" and "more of the same in Partner and Apne". In 2008, Kaif had three releases, the first of which was Abbas-Mustan's action thriller Race, a story about two stepbrothers-turned-rivals who are in contention for their father's insurance money. Kaif played Saif Ali Khan's secretary, who is his stepbrother's (Akshaye Khanna) lover. Nikhat Kazmi was appreciative of the film's look and action but found Kaif unimpressive in her role. Kaif rejoined Akshay Kumar in Anees Bazmee's action comedy Singh Is Kinng, which earned worldwide to become her sixth consecutive box-office success. However, she received mixed reviews for her performance. Rajeev Masand of CNN-News18 found Kaif "an eyesore in every sense of the word" and her acting weak. Kaif's final film of the year—Subhash Ghai's drama Yuvvraaj—was a major box-office failure. In preparation for her role as a cellist she practised with orchestra members. Her portrayal of a girl forbidden by her father from marrying her poor lover was well received by Sify's Sonia Chopra: "Katrina is wonderful, plays the cello convincingly, and looks ethereal." Despite the film's mixed critical reception, its screenplay was added to the library of the Academy of Motion Picture Arts and Sciences for its artistic merit. Up until this point, Kaif's voice was dubbed over by voice artists in most of her films due to her lack of fluency in Hindi and other Indian languages. Although her films during this period were financially successful, critics noted that she played unimportant roles in them as they were generally male-dominated, whereas her performances were largely criticised. She justified choosing these glamorous roles as part of learning without any goal for a certain kind of film. When criticised for her reluctance to appear in smaller scale films to garner credibility as an actress, she responded: "I do not believe that you have to take off your make-up and look simple to prove you're an actress ... I'm not going to make a morose film, which no one will watch just so people take me seriously as an actress." Kaif participated in Shah Rukh Khan's "Temptations Reloaded" world concert tour in 2008. Also featuring Kareena Kapoor and Arjun Rampal, the tour began in Amsterdam in June and ended four months later in Dubai's Festival City Arena before an audience of 15,000. Mainstream success (2009–2012) After a string of films in which she was cast in glamourous, "arm candy" roles, Kaif began looking for more substantial parts. One such opportunity arose with Kabir Khan's terrorism drama New York (2009). Costarring John Abraham and Neil Nitin Mukesh, the film follows the lives of three friends when one of them is wrongly detained after 9/11. Kaif played Maya, a college student who unknowingly marries a terrorist. Having faced racial discrimination when she was in London, Kaif identified with the character's experiences. New York performed well at the box office and received favourable reviews. According to Subhash K. Jha, Kaif was successful as an actress in a substantial role and convincingly portrayed her character's transition from a carefree student to a tormented wife. A reviewer for The Times of India considered it to be her career's best performance. New York brought Kaif her first Filmfare Award nomination for Best Actress. She then appeared in a cameo for India's first underwater thriller Blue. Kaif starred with Ranbir Kapoor in Rajkumar Santoshi's hit comedy, Ajab Prem Ki Ghazab Kahani (2009), as an orphan forced to marry a rich man. Taran Adarsh of Bollywood Hungama praised the actors' energetic pairing and found that Kaif performed well in both emotional and light scenes. Her final film of the year was Priyadarshan's comedy De Dana Dan. She performed with Akon at the closing ceremony of the 2009 Indian Premier League at the Wanderers Stadium in Johannesburg, In 2010, Kaif appeared in Prakash Jha's political thriller Raajneeti as part of an ensemble cast which included Ranbir Kapoor, Ajay Devgan, Arjun Rampal, Nana Patekar, Manoj Bajpai and Sarah Thompson. The film took inspiration from The Mahabharata and Mario Puzo's 1969 novel The Godfather. Set in Bhopal, the film described a fiercely fought election campaign by two parties attempting to seize power with manipulation, corruption, and treachery. Kaif rejected the media's speculation that her character was based on Sonia Gandhi. In preparation for her role as Indu, a politician loosely based on Draupadi, she watched Priyanka Gandhi's election campaign videos to study the body language and interaction of politicians. The film received mainly positive reviews from critics. Rajeev Masand found Raajneeti "thrilling and gripping", though Namrata Joshi was critical of the film's depiction of women. Nikhat Kazmi considered Kaif's performance to be "carefree and camera-unconscious" and wrote that she "seems to slip into the high-powered shoes easily". The film was highly successful at the box office, receiving a total collection of . Kaif collaborated with Akshay Kumar for the sixth time in the slapstick comedy Tees Maar Khan (2010), in which she played an aspiring actress, the girlfriend of a criminal (Kumar). In the film, Kaif performed a popular item number titled "Sheila Ki Jawani". The song was choreographed by the film's director Farah Khan and for the belly dancing portion, Kaif was trained by expert Veronica D'Souza. In contrast to the song's popularity, Tees Maar Khan was panned by critics and its box-office performance was poor. Kaif's portrayal was not well received; Renuka Rao of Daily News and Analysis found her "drama queen act" poor but noted that she was exceptional in the item number. The following year, Kaif was paired with Hrithik Roshan in Zoya Akhtar's coming-of-age dramedy Zindagi Na Milegi Dobara. The film narrates the story of three friends on a bachelor trip and features Kaif as Laila, a diving instructor who becomes romantically involved with Roshan's character and inspires him overcome his workaholism. She had difficulty filming her scuba diving scene due to her inexperience; she was so scared she dug her nails into costar Roshan. The film was a critical and commercial success. Richard Kuipers of Variety commented that she is "delightful" in the role of a cordial young woman who encourages others to confront their weaknesses. Zindagi Na Milegi Dobara received numerous Best Film accolades. The romantic comedy Mere Brother Ki Dulhan (2011), produced by Yash Raj Films, starred Kaif alongside Imran Khan and Ali Zafar. She found herself challenged by the role of Dimple Dixit, whose loquacious and unpredictable nature strongly contrasted with Kaif's personality. The film opened to mixed reviews, but Kaif was generally praised for her portrayal. The book Mother Maiden Mistress calls Dimple one of the more interesting female characters of the year. According to Gaurav Malani of The Economic Times, the film is mainly watchable for "Katrina's live-wire energy wherein she never goes overboard and keeps bustling with vivacity through the runtime." For this performance, Kaif received her second Filmfare nomination in the Best Actress category. In 2012, Kaif appeared in "Chikni Chameli", an item number in Agneepath that incorporated dance steps from the Lavani genre (a Maharashtrian folk dance). Filming the music video, which finished in ten days, proved challenging for Kaif, as its style was new to her. Rachit Gupta of Filmfare attributed the song's success partly to her "infectious energy", noting her "gyrations and belly movements were an onslaught of attraction for the fans". Kaif appeared next in Kabir Khan's espionage thriller Ek Tha Tiger as a Pakistani ISI agent who falls in love with an Indian RAW agent. The film received predominantly positive reviews, with Aniruddha Guha of Daily News and Analysis calling it "smart and stylish". Shubhra Gupta of The Indian Express wrote about her performance: "Katrina is an able, animated foil to Salman, her long legs making her leaps and kicks credible". With worldwide earnings of , Ek Tha Tiger was the highest-grossing Bollywood film of the year. Later in the year, Kaif was paired with Shah Rukh Khan in Yash Chopra's swan song, the romance Jab Tak Hai Jaan. She expressed her excitement at working with Chopra, saying he "undoubtedly is the king of romance and I have always admired the way he presents his heroines. It was always a dream to work with him and the reality is even better." She played Meera, a woman who vows to end her affair with her comatose lover if he survives. Although the film received mostly positive reviews, Kaif's performance had a mixed reception. CNN-News18 deemed Kaif inexpressive in her part and found her struggling in emotional and complex scenes. Commercially, the film proved a box-office hit with revenues of worldwide. Fluctuations and current work (2013–present) Kaif rejoined Shah Rukh Khan for his 2013 "Temptations Reloaded" concert in Muscat, performing to an audience of over 18,000, and joined Shah Rukh Khan, Deepika Padukone and Pitbull in Kolkata for the opening ceremony of the 2013 IPL season. In 2013, she appeared briefly with Aamir Khan in Vijay Krishna Acharya's action thriller Dhoom 3. To prepare for her role as a circus performer, she undertook a year-long regimen of Pilates, functional training and aerial straps. The film received ambivalent reviews and Kaif was criticised for taking on an insubstantial part, though Taran Adarsh found her to be "ethereal" and "moving with incredible grace in dance numbers". Earning in box-office receipts, Dhoom 3 went on to become the highest-grossing Bollywood film of all time until it was surpassed by PK in 2014. Kaif's next appearance was in Siddharth Anand's Bang Bang! (2014), a remake of the 2010 action comedy Knight and Day. She played a bank receptionist who is unwittingly caught up with a secret agent (Hrithik Roshan). Raja Sen of Rediff.com disliked her performance, describing it as "insufferable". The film was commercially successful, though financial analysts observed that it had failed to meet box-office expectations. Kaif's sole appearance of 2015 was with Saif Ali Khan in Kabir Khan's Mumbai-based post 26/11 counter-terrorism drama Phantom. To prepare for the role of former RAW agent Nawaz Mistry, Kaif learned some Arabic. Phantom and Kaif's two releases the following year—Fitoor and Baar Baar Dekho—were commercial failures. Abhishek Kapoor's Fitoor is an adaptation of Charles Dickens' Great Expectations in which Kaif played a role based on Estella Havisham along with Aditya Roy Kapur and Tabu. Namrata Joshi found Kaif good in scenes where she dances, smiles or flirts but inadequate in dramatic parts. She was paired with Sidharth Malhotra in Nitya Mehra's science-fiction romance Baar Baar Dekho. Shubhra Gupta of The Indian Express found Kaif expressionless but praised her and Malhotra's energetic dance number in "Kala Chashma", which amassed over one billion views on YouTube. Also in 2016, she joined other Indian celebrities for the "Dream Team Tour", where they performed in various American cities. Kaif next acted opposite Ranbir Kapoor in Anurag Basu's comedy-adventure Jagga Jasoos. The film was released in 2017 after delays caused by changes in the script and multiple reshoots. The film opened to a mixed critical response and was a commercial disappointment. Mayank Shekhar from Mid-Day praised Kaif and Kapoor for being confident before the camera, but Saibal Chatterjee of NDTV noted Kaif's failed attempt to hold her own against Kapoor. In the same year, Kaif reteamed with Salman Khan, reprising the role of Zoya in Ali Abbas Zafar's action thriller Tiger Zinda Hai, a sequel to the 2012 film Ek Tha Tiger. The film premiered on the Christmas weekend to strong box office collections, grossing over ₹1.1 billion within three days of release. Rachit Gupta wrote that Kaif compensated for her limited dialogue by convincingly performing the scenes with hand-to-hand combat and gun fights, calling it "invigorating to see a lady kick-ass with so much élan and pull all the punches like they're real". A BBC article by Shubhra Gupta on Bollywood's objectification of female characters found Kaif's status as an action heroine refreshing. Kaif's two releases in 2018—the period action-adventure film Thugs of Hindostan and the romantic comedy-drama Zero—were made on lucrative budgets. Despite being among the most anticipated releases that year, both films were unsuccessful at the box office. With respect to the failure of the former, Kaif admitted to have not invested much in the project due to her limited screen time. In Aanand L Rai's Zero, she reunited with Shah Rukh Khan and Anushka Sharma after Jab Tak Hai Jaan. Kaif was initially hesitant about accepting the part of a second female lead but eventually agreed after Khan and Rai insisted. Though Zero received mixed reviews from critics, Kaif's portrayal of an alcoholic actress earned her critical praise; Udita Jhunjhunwala of Mint credited her for delivering "what could be considered her most authentic performance". Calling her one of Bollywood's "scene stealers" in 2018, Sukanya Verma thought Kaif was a "revelation" and her "constantly crying eyes, poker-faced cynicism and wholehearted submission to demeaning impulses underscore the fragility under the furore". For Zero, she received a Zee Cine Award for Best Supporting Actress and a Filmfare nomination in the same category. In 2019, Kaif once again collaborated with Salman Khan and Ali Abbas Zafar in the drama Bharat, an adaptation of the South Korean film Ode to My Father (2014). Kaif replaced Priyanka Chopra in the role of an engineer who falls in love with Khan's character. Kaif rejected media speculation that she accepted the part as a favour for her friend Khan and cited her appreciation of the script. Bharat became one of the highest-grossing Hindi films of 2019. While reviews of the film were varied, Mike McCahil of The Guardian noted the "well-tended chemistry" between Kaif and Khan and thought "the sincerity in her gaze" helped the audience ignore her character's questionable choices. Kaif's only 2020 film would have been Rohit Shetty's Sooryavanshi alongside Akshay Kumar, but the COVID-19 pandemic in India caused it several delays until its final November2021 release. An admirer of Shetty's larger-than-life directing style, Kaif played the wife of Kumar's character. Sooryavanshi was a box-office success, briefly becoming India's highest-grossing film of the year. Kaif will star in the comedy horror Phone Bhoot opposite Siddhant Chaturvedi and Ishaan Khatter, slated for release in July 2022. As of 2021, she is filming Tiger 3, the third instalment in the Tiger franchise, and Sriram Raghavan's Merry Christmas with Vijay Sethupathi. She has also committed to starring in Farhan Akhtar's Jee Le Zaraa, along with Priyanka Chopra and Alia Bhatt. Personal life Kaif has a close relationship with her family, and the lack of a father figure in her life has given her a sense of responsibility towards them. While Kaif's mother is Christian and her father is Muslim, Kaif says she was allowed to practise a faith of her choice and is a "firm believer in God". The Times of India reported in 2009 that she visits Siddhivinayak Temple, Mount Mary Church, and Sufi shrine Ajmer Sharif Dargah before her films are released. Kaif is reluctant to discuss her personal life, which has been the subject of media attention in India. "I have always believed that there is life before marriage and after marriage. Before marriage ... you are termed a single woman and I choose to conduct that part of my life with absolute dignity and discretion." Although rumors of a relationship with actor Salman Khan emerged in 2003, it was not until years after their breakup that Kaif spoke of it, calling it her first serious relationship. They have remained friends, and she credits Khan for giving her confidence and guidance. Kaif was linked to actor Ranbir Kapoor during the filming of Ajab Prem Ki Ghazab Kahani. In August2013, photographs of Kapoor and Kaif on holidays were leaked by Stardust which were interpreted as confirmation of a romantic relationship. After the appearance of the photos, Kaif published an open letter stating that she was "upset, distressed and invaded" by the breach of privacy. They broke up in 2016. Kaif married actor Vicky Kaushal on 9December2021 at Six Senses Resort, Fort Barwara in Sawai Madhopur, Rajasthan. Their wedding was the subject of wide media coverage in India. Philanthropy Kaif has garnered praise from The Times of India for her philanthropic work while maintaining a low-profile about it. Vocal about women's issues, Kaif is involved with Relief Projects India, a charitable trust run by her mother which rescues abandoned baby girls and works to prevent female infanticide. Kaif's winnings from the game shows 10 Ka Dum and Kaun Banega Crorepati were donated to her mother's Mercy Home orphanage. She has also been vocal about gender inequality, marital rape and female education in rural India. In 2010, Kaif was one of several celebrities who created promotional messages for Pearls Wave Trust, which campaigns against violence and abuse of women and girls. Discussing gender pay gap in 2019, she spoke in favour of more big-budget, female-dominated Bollywood films. In 2007, Kaif joined the efforts of the United Nations Office on Drugs and Crime (UNODC) to curb human trafficking in India. In 2009 and 2010, Kaif also walked the ramp for charity as part of Salman Khan's "Being Human" show. To raise funds for a new school in Madurai, she recorded Rhyme Skool (2010), an album of nursery rhymes composed by A. R. Rahman. Kaif visited sepoys in Jammu as part of NDTV's reality program Jai Jawan (2011). The following year she visited the Cancer Patients Aid Association to gift cancer survivors and increase public awareness of breast and cervical cancer. In 2013, she appeared alongside other celebrities in a commercial, produced by the National Film Development Corporation of India, to create awareness about children's education. In 2021, she donated an undisclosed amount of money to PM CARES Fund, a relief effort against the COVID-19 pandemic in India. Media image Kaif's Bollywood success has sparked an influx of foreign talents hoping to establish themselves in the industry. According to an India Today article, despite her dissimilarity to a conventional Bollywood heroine, Kaif "turned every adversity into opportunity and climbed the slippery pole of stardom". Alia Waheed of The Guardian wrote that Kaif "fitted the new trend for a more modern image of the Bollywood heroine" through her Western style. As part of a career analysis, Nivedita Mishra of Hindustan Times noted that despite initial poor command of the Hindi language and an unsuccessful acting debut, Kaif later took on roles in films that highlighted her "charming and jovial" screen presence. Mishra further said Kaif established herself as one of India's highest-paid actresses by accepting her limitations, emphasising strengths as an artist and making smart choices. In response to being stereotyped, Kaif spoke of believing in herself and using it as a motivation to do what she likes. Despite being a commercially successful film star, Kaif has received mixed reviews for her acting prowess. Writing for Firstpost, Anuya Jakatdar suggested that Kaif should accept challenging parts instead of "coasting on her co-star's box office appeal" and criticised her inclination towards glamorous roles. Khalid Mohamed of Khaleej Times similarly found her unwillingness to take risks by acting in independent films a weakness. Asked if she has a dream role, Kaif said she chooses scripts intuitively and does not have a preference for a particular genre. Kaif's dancing ability has received better reviews; she was described as one of Bollywood's best dancers by The Times of India and The Indian Express. Rachit Gupta hails her "the undisputed Queen of dance numbers in Bollywood". Initially reluctant to dance in films, Kaif has developed a love for dancing and later described it a joyful and relaxing experience. She spends several hours a day practising traditional dance. Kaif is cited in the media as one of India's most beautiful celebrities, and has ranked highly in polls choosing the most attractive Indian celebrities. She was named the "World's Sexiest Woman" by FHM India five times from 2008 to 2013, and appeared on Verves list of most powerful women in 2009 and 2010. The UK magazine Eastern Eye called her the "Sexiest Asian Woman" from 2008 to 2010, and again in 2013. Kaif was named The Times of Indias "Most Desirable Woman" in 2010, and was later ranked second from 2011 to 2013. In 2010 and 2011, Mattel released two sets of Barbie dolls modelled on Kaif. The Indian edition of People described her as "India's Most Beautiful Woman" in 2011 and three years later she topped Maxim Indias "Hot 100" poll. A life-size, wax figure of her was installed in London's Madame Tussauds in March2015, making her the eighth Bollywood actor to have been replicated as a wax statue there. Shikha Talwar of GQ India commented on Kaif's "enviable physique", which she attributed to her workout routines and healthy diet. Journalists from The Hindu and Hindustan Times took note of her "trademark elegance and simplistic style" and the "sense of originality and immense grace" in her fashion. In 2019, Kaif launched her cosmetic brand Kay Beauty, selling products like nail paints, lip and face highlighters, eye shadows, and foundations. Speaking to Cosmopolitan, she said her brand aims to defy society's exclusive beauty standards and promote inclusivity and comfort in one's skin. Kaif is a celebrity spokesperson for a number of brands including Slice, Nakshatra, Lux, Panasonic, Lakmé and L'Oréal. The Economic Times ranked Kaif India's second most prominent endorser in 2012. Hindustan Times reported in 2014 that she received to for each endorsement, making her one of India's highest-paid celebrity endorsers. Kaif was included on Forbes list of India's best-known entertainers from 2012 to 2019, peaking at the ninth position in 2013 with an estimated annual income of . According to a 2021 Forbes India estimate, her net worth is . As of 2021, she is the tenth most-followed Bollywood celebrity on Instagram. Notes References Further reading External links 1983 births Living people British film actresses British female models British people of Indian descent British actresses of Indian descent English people of Kashmiri descent Age controversies Hong Kong film actresses Hong Kong people of Indian descent Hong Kong people of English descent British expatriates in India Actresses in Hindi cinema Actresses in Malayalam cinema Actresses in Telugu cinema European actresses in India European actresses in Bollywood Actresses of European descent in Indian films Actresses of European descent in Bollywood films 21st-century Hong Kong actresses 21st-century British actresses

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Does she have siblings?

Does Katrina Kaif have siblings?

Katrina Kaif

Katrina Kaif was born in Hong Kong with her mother's surname Turquotte (also spelt Turcotte), on 16 July 1983. According to the actress, her father (Mohammed Kaif) is a British businessman of Kashmiri Indian descent and her mother (Suzanne, also spelt Susanna) is an English lawyer and charity worker. She has seven siblings: three elder sisters (Stephanie, Christine, and Natasha), three younger sisters (Melissa, Sonia, and Isabel) and an elder brother, Michael. Isabelle Kaif is also a model and actress. Kaif's parents divorced when she was a child, and her father moved to the United States. She said her father had no influence on Kaif or her siblings while they were growing up, and they were raised by their mother. On her father's absence in her life, Kaif stated: "When I see friends who have wonderful fathers who are like pillars of support for their families, I say, if only I had that. But instead of complaining, I should be grateful for all the other things I have". In a 2009 interview with The Indian Express, she said she was not in touch with her father. Kaif says that her mother decided to "dedicate her life to social causes", which led to the family's relocation to a number of countries for varying lengths of time: Our transitions in growing up were--from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland--and I'm cutting out many East European countries where we were for only a few months each--then Poland in Krakow ... After that we went to Belgium, then to Hawaii, which was a short time, and then came to London. Due to their frequent relocation, Kaif and her siblings were home-schooled by a series of tutors. Although she is thought to have grown up in London, she lived there for only three years before moving to India. According to Kaif, she then changed her surname to her father's because she thought it would be easier to pronounce. Kaif's paternal parentage has been questioned by some members of the film industry. In a 2011 interview with Mumbai Mirror, Boom producer Ayesha Shroff accused Kaif of fabricating her history: "We created an identity for her. She was this pretty young English girl, and we gave her the Kashmiri father and thought of calling her Katrina Kazi. We thought we'd give her some kind of Indian ancestry, to connect with the audience ... But then we thought that Kazi sounded too ... religious? ... Mohammad Kaif was at the top, and so we said, Katrina Kaif sounds really great". Kaif called Shroff's comments "hurtful". CANNOTANSWER

She has seven siblings:

Katrina Kaif (; born Katrina Turquotte; 16 July 1983) is a British actress who works in Hindi-language films. One of the highest-paid actresses in India, she has received several accolades, including four Screen Awards and four Zee Cine Awards, in addition to three Filmfare nominations. Though she has received mixed reviews for her acting, she is noted for her dancing ability in various successful item numbers. Born in Hong Kong, Kaif lived in several countries before she moved to London for three years. She received her first modelling assignment as a teenager and later pursued a career as a fashion model. At a fashion show in London, Indian filmmaker Kaizad Gustad cast her in Boom (2003), a critical and commercial failure. While Kaif established a successful modelling career in India, she initially had difficulty finding film roles due to her poor command of Hindi. After appearing in the Telugu film Malliswari (2004), Kaif earned commercial success in Bollywood with the romantic comedies Maine Pyaar Kyun Kiya? (2005) and Namastey London (2007). Further success followed with a series of box-office hits, but she was criticised for her acting, repetitive roles, and inclination to male-dominated films. Kaif's performances in the thriller New York (2009) and the romantic comedy Mere Brother Ki Dulhan (2011) were better received, earning her nominations for the Filmfare Award for Best Actress. She starred in Ajab Prem Ki Ghazab Kahani (2009), Raajneeti (2010), and Zindagi Na Milegi Dobara (2011) during this period, and found major commercial success in the action thrillers Ek Tha Tiger (2012), Dhoom 3 (2013), and Bang Bang! (2014), all of which rank among the highest-grossing Indian films. These were followed by a series of commercial failures, though the action films Tiger Zinda Hai (2017) and Sooryavanshi (2021) and the drama Bharat (2019) were box-office hits. Kaif's portrayal of an alcoholic actress in the romantic drama Zero (2018) earned her a Zee Cine Award for Best Supporting Actress. In the media, Kaif frequently features in listings of India's most popular and attractive celebrities. A regular brand endorser, she launched her cosmetic line Kay Beauty in 2019. She participates in stage shows and is involved with her mother's charity, which prevents female infanticide. Kaif is married to actor Vicky Kaushal. Early life Katrina Kaif was born in British Hong Kong with her mother's surname Turquotte (also spelt Turcotte), on 16 July 1983. Her father, Mohammed Kaif, is a British businessman of Kashmiri descent and her mother (Suzanne, also spelt Susanna) is an English lawyer and charity worker. She has seven siblings: three elder sisters named Stephanie, Christine, and Natasha; three younger sisters named Melissa, Sonia, and Isabel; and an elder brother named Sebastien. Isabel is also a model and actress. Kaif's parents divorced when she was a child, and her father moved to the United States. She said her father had no influence on her or her siblings while they were growing up, and that they were raised by their mother. In a 2009 interview with The Indian Express, she said she was not in touch with her father. Kaif's paternal parentage has been questioned by some members of the film industry. In a 2011 interview with Mumbai Mirror, Boom producer Ayesha Shroff accused Kaif of fabricating her history: "We created an identity for her. She was this pretty young English girl, and we gave her the Kashmiri father and thought of calling her Katrina Kazi. We thought we'd give her some kind of Indian ancestry, to connect with the audience ... But then we thought that Kazi sounded too ... religious? ... Mohammad Kaif was at the top, and so we said, Katrina Kaif sounds really great". Kaif denied this, calling Shroff's comments "hurtful". As Kaif's mother is a social activist, the family relocated to a number of countries for varying lengths of time. Therefore, Kaif and her siblings were home-schooled by a series of tutors. She said:Our transitions in growing up were—from Hong Kong where I was born, to China, then to Japan, and from Japan by boat to France ... After France, Switzerland—and I'm cutting out many East European countries where we were for only a few months each—then Poland in Kraków ... After that we went to Belgium, then to Hawaii, which was a short time, and then came to London. Kaif lived in London for three years before moving to India. At age14, Kaif won a beauty contest in Hawaii, and received her first modelling assignment in a jewellery campaign. She subsequently modelled professionally in London, working for freelance agencies and appearing regularly at the London Fashion Week. During this period, she visited India for the first time after an Asian friend suggested they take a trip there. Career Acting beginnings (2003–2005) At a fashion show Kaif attracted the attention of London-based filmmaker Kaizad Gustad. She made her acting debut in Gustad's Hindi-English heist film Boom starring Amitabh Bachchan, Gulshan Grover, Jackie Shroff, Madhu Sapre and Padma Lakshmi. While filming in India, Kaif received other offers and decided to stay in the country; she then changed her surname to her father's because she thought it would be easier to pronounce. She was noticed as a model after walking the ramp for Rohit Bal at the India Fashion Week and appeared in the first Kingfisher Calendar. After endorsing such brands as Coca-Cola, LG, Fevicol and Samsung, Kaif soon established a successful modelling career in India. Boom (2003) had its first screening at the Cannes Film Festival, where it was heavily promoted, but emerged as a commercial and critical failure. Kaif's portrayal of a supermodel ensnared in the Mumbai underworld was poorly received; Ziya Us Salam of The Hindu wrote of the weak performances by Kaif and the other female stars, criticising their inexpressiveness. She later dismissed Boom as an unimportant part of her career, ascribing her choice to her unawareness of Indian audiences' film taste then. Hindustan Times reported that after Boom's release, Kaif was written off due to her poor Hindi and thick British accent; as a result, filmmakers were hesitant in casting her in their films. Kaif soon began working on her diction through Hindi classes. In 2003, director Mahesh Bhatt replaced Kaif with Tara Sharma in Saaya as he found Kaif's acting on set subpar compared to her audition for the role. After the failure of her first Bollywood project, Kaif appeared in the Telugu film Malliswari (2004), in which she played the title role of a princess forced to flee from her murderous caretaker. Kaif received a reported salary of for the film, the highest for a female lead at the time in South Indian cinema; Sify attributed this achievement to her looks and figure. Despite negative reviews for her acting, she was nominated for a Filmfare Award for Best Actress – Telugu and received several film offers afterwards. Malliswari was a profitable venture. In 2005, Kaif appeared briefly as Abhishek Bachchan's girlfriend in Ram Gopal Varma's political thriller Sarkar. She next featured alongside Salman Khan, Sushmita Sen and Sohail Khan in Maine Pyaar Kyun Kiya?, a film she considered her "first real step into Bollywood". Directed by David Dhawan, the film was a successful remake of the romantic comedy Cactus Flower. For her role as a suicidal model, Kaif received the Stardust Award for Breakthrough Performance – Female. According to Sukanya Verma of Rediff.com, "Katrina's Disney princess-like charm adds to her adorable screen presence". Kaif followed with her second Telugu film, Allari Pidugu, in which she had "very little role to play and shake a leg or two with the hero", according to a critic from The Hindu. Breakthrough (2006–2008) In 2006, she appeared in Raj Kanwar's unsuccessful Humko Deewana Kar Gaye, which marked the first of her frequent collaborations with costar Akshay Kumar. It tells the story of two like-minded strangers who fall in love despite being engaged to others. A Sify critic wrote that Kaif was "passably competent in a tailor-made role, giving a mild emotional spin to a couple of scenes" but was overshadowed by her supporting actresses. The same year, Kaif played an actress with Mammootty in the Malayalam crime thriller Balram vs. Tharadas. Kaif's career prospects improved in 2007, when she appeared in four Bollywood hits. In an interview with The Indian Express, she called Vipul Amrutlal Shah's romantic comedy Namastey London her first dominating role. Kaif used her life in London as a reference for her role of Jasmeet Malhotra, a spoilt British Indian girl intent on marrying her self-centred British boyfriend despite her parents' disapproval. Although critics expressed mixed views on the film, Sukanya Verma wrote that Kaif "suits the role to the T" and "brings the zingy mix of her character alive with style and substance". Kaif's chemistry with co-star Akshay Kumar was particularly well received, with Nikhat Kazmi of The Times of India calling their casting "refreshing". Taran Adarsh from Bollywood Hungama found Kaif confident in Humko Deewana Kar Gaye and Namastey London and "a revelation" in the latter, praising her for being convincing in the complex scenes. In the book Indian Film Stars: New Critical Perspectives, author Michael Lawrence wrote that filmmakers' decision to cast Kaif as a non-resident Indian in several films, including Namastey London, was to capitalise on her foreign looks. Lawrence considered Kaif's Hindi with an English accent part of her appeal. Kaif had a supporting role as a doctor in the sports drama Apne, a highly anticipated release as it marked the first appearance of Dharmendra with his sons, Sunny Deol and Bobby Deol. After Apne she rejoined director David Dhawan and Salman Khan for the comedy Partner, a remake of Hitch which co-starred Govinda and Lara Dutta. With a worldwide revenue of , the film was a major financial success. Kaif's final film of the year was Anees Bazmee's comedy Welcome, alongside Akshay Kumar, Nana Patekar, Mallika Sherawat and Anil Kapoor. Although the film generated mostly negative reviews, it proved to be the second highest-grossing Bollywood film of 2007. The similarity of Kaif's roles was noted by Shoma Chaudhury of Tehelka, who called her "unabashed eye-candy", adding that she was "a pretty prop in Welcome" and "more of the same in Partner and Apne". In 2008, Kaif had three releases, the first of which was Abbas-Mustan's action thriller Race, a story about two stepbrothers-turned-rivals who are in contention for their father's insurance money. Kaif played Saif Ali Khan's secretary, who is his stepbrother's (Akshaye Khanna) lover. Nikhat Kazmi was appreciative of the film's look and action but found Kaif unimpressive in her role. Kaif rejoined Akshay Kumar in Anees Bazmee's action comedy Singh Is Kinng, which earned worldwide to become her sixth consecutive box-office success. However, she received mixed reviews for her performance. Rajeev Masand of CNN-News18 found Kaif "an eyesore in every sense of the word" and her acting weak. Kaif's final film of the year—Subhash Ghai's drama Yuvvraaj—was a major box-office failure. In preparation for her role as a cellist she practised with orchestra members. Her portrayal of a girl forbidden by her father from marrying her poor lover was well received by Sify's Sonia Chopra: "Katrina is wonderful, plays the cello convincingly, and looks ethereal." Despite the film's mixed critical reception, its screenplay was added to the library of the Academy of Motion Picture Arts and Sciences for its artistic merit. Up until this point, Kaif's voice was dubbed over by voice artists in most of her films due to her lack of fluency in Hindi and other Indian languages. Although her films during this period were financially successful, critics noted that she played unimportant roles in them as they were generally male-dominated, whereas her performances were largely criticised. She justified choosing these glamorous roles as part of learning without any goal for a certain kind of film. When criticised for her reluctance to appear in smaller scale films to garner credibility as an actress, she responded: "I do not believe that you have to take off your make-up and look simple to prove you're an actress ... I'm not going to make a morose film, which no one will watch just so people take me seriously as an actress." Kaif participated in Shah Rukh Khan's "Temptations Reloaded" world concert tour in 2008. Also featuring Kareena Kapoor and Arjun Rampal, the tour began in Amsterdam in June and ended four months later in Dubai's Festival City Arena before an audience of 15,000. Mainstream success (2009–2012) After a string of films in which she was cast in glamourous, "arm candy" roles, Kaif began looking for more substantial parts. One such opportunity arose with Kabir Khan's terrorism drama New York (2009). Costarring John Abraham and Neil Nitin Mukesh, the film follows the lives of three friends when one of them is wrongly detained after 9/11. Kaif played Maya, a college student who unknowingly marries a terrorist. Having faced racial discrimination when she was in London, Kaif identified with the character's experiences. New York performed well at the box office and received favourable reviews. According to Subhash K. Jha, Kaif was successful as an actress in a substantial role and convincingly portrayed her character's transition from a carefree student to a tormented wife. A reviewer for The Times of India considered it to be her career's best performance. New York brought Kaif her first Filmfare Award nomination for Best Actress. She then appeared in a cameo for India's first underwater thriller Blue. Kaif starred with Ranbir Kapoor in Rajkumar Santoshi's hit comedy, Ajab Prem Ki Ghazab Kahani (2009), as an orphan forced to marry a rich man. Taran Adarsh of Bollywood Hungama praised the actors' energetic pairing and found that Kaif performed well in both emotional and light scenes. Her final film of the year was Priyadarshan's comedy De Dana Dan. She performed with Akon at the closing ceremony of the 2009 Indian Premier League at the Wanderers Stadium in Johannesburg, In 2010, Kaif appeared in Prakash Jha's political thriller Raajneeti as part of an ensemble cast which included Ranbir Kapoor, Ajay Devgan, Arjun Rampal, Nana Patekar, Manoj Bajpai and Sarah Thompson. The film took inspiration from The Mahabharata and Mario Puzo's 1969 novel The Godfather. Set in Bhopal, the film described a fiercely fought election campaign by two parties attempting to seize power with manipulation, corruption, and treachery. Kaif rejected the media's speculation that her character was based on Sonia Gandhi. In preparation for her role as Indu, a politician loosely based on Draupadi, she watched Priyanka Gandhi's election campaign videos to study the body language and interaction of politicians. The film received mainly positive reviews from critics. Rajeev Masand found Raajneeti "thrilling and gripping", though Namrata Joshi was critical of the film's depiction of women. Nikhat Kazmi considered Kaif's performance to be "carefree and camera-unconscious" and wrote that she "seems to slip into the high-powered shoes easily". The film was highly successful at the box office, receiving a total collection of . Kaif collaborated with Akshay Kumar for the sixth time in the slapstick comedy Tees Maar Khan (2010), in which she played an aspiring actress, the girlfriend of a criminal (Kumar). In the film, Kaif performed a popular item number titled "Sheila Ki Jawani". The song was choreographed by the film's director Farah Khan and for the belly dancing portion, Kaif was trained by expert Veronica D'Souza. In contrast to the song's popularity, Tees Maar Khan was panned by critics and its box-office performance was poor. Kaif's portrayal was not well received; Renuka Rao of Daily News and Analysis found her "drama queen act" poor but noted that she was exceptional in the item number. The following year, Kaif was paired with Hrithik Roshan in Zoya Akhtar's coming-of-age dramedy Zindagi Na Milegi Dobara. The film narrates the story of three friends on a bachelor trip and features Kaif as Laila, a diving instructor who becomes romantically involved with Roshan's character and inspires him overcome his workaholism. She had difficulty filming her scuba diving scene due to her inexperience; she was so scared she dug her nails into costar Roshan. The film was a critical and commercial success. Richard Kuipers of Variety commented that she is "delightful" in the role of a cordial young woman who encourages others to confront their weaknesses. Zindagi Na Milegi Dobara received numerous Best Film accolades. The romantic comedy Mere Brother Ki Dulhan (2011), produced by Yash Raj Films, starred Kaif alongside Imran Khan and Ali Zafar. She found herself challenged by the role of Dimple Dixit, whose loquacious and unpredictable nature strongly contrasted with Kaif's personality. The film opened to mixed reviews, but Kaif was generally praised for her portrayal. The book Mother Maiden Mistress calls Dimple one of the more interesting female characters of the year. According to Gaurav Malani of The Economic Times, the film is mainly watchable for "Katrina's live-wire energy wherein she never goes overboard and keeps bustling with vivacity through the runtime." For this performance, Kaif received her second Filmfare nomination in the Best Actress category. In 2012, Kaif appeared in "Chikni Chameli", an item number in Agneepath that incorporated dance steps from the Lavani genre (a Maharashtrian folk dance). Filming the music video, which finished in ten days, proved challenging for Kaif, as its style was new to her. Rachit Gupta of Filmfare attributed the song's success partly to her "infectious energy", noting her "gyrations and belly movements were an onslaught of attraction for the fans". Kaif appeared next in Kabir Khan's espionage thriller Ek Tha Tiger as a Pakistani ISI agent who falls in love with an Indian RAW agent. The film received predominantly positive reviews, with Aniruddha Guha of Daily News and Analysis calling it "smart and stylish". Shubhra Gupta of The Indian Express wrote about her performance: "Katrina is an able, animated foil to Salman, her long legs making her leaps and kicks credible". With worldwide earnings of , Ek Tha Tiger was the highest-grossing Bollywood film of the year. Later in the year, Kaif was paired with Shah Rukh Khan in Yash Chopra's swan song, the romance Jab Tak Hai Jaan. She expressed her excitement at working with Chopra, saying he "undoubtedly is the king of romance and I have always admired the way he presents his heroines. It was always a dream to work with him and the reality is even better." She played Meera, a woman who vows to end her affair with her comatose lover if he survives. Although the film received mostly positive reviews, Kaif's performance had a mixed reception. CNN-News18 deemed Kaif inexpressive in her part and found her struggling in emotional and complex scenes. Commercially, the film proved a box-office hit with revenues of worldwide. Fluctuations and current work (2013–present) Kaif rejoined Shah Rukh Khan for his 2013 "Temptations Reloaded" concert in Muscat, performing to an audience of over 18,000, and joined Shah Rukh Khan, Deepika Padukone and Pitbull in Kolkata for the opening ceremony of the 2013 IPL season. In 2013, she appeared briefly with Aamir Khan in Vijay Krishna Acharya's action thriller Dhoom 3. To prepare for her role as a circus performer, she undertook a year-long regimen of Pilates, functional training and aerial straps. The film received ambivalent reviews and Kaif was criticised for taking on an insubstantial part, though Taran Adarsh found her to be "ethereal" and "moving with incredible grace in dance numbers". Earning in box-office receipts, Dhoom 3 went on to become the highest-grossing Bollywood film of all time until it was surpassed by PK in 2014. Kaif's next appearance was in Siddharth Anand's Bang Bang! (2014), a remake of the 2010 action comedy Knight and Day. She played a bank receptionist who is unwittingly caught up with a secret agent (Hrithik Roshan). Raja Sen of Rediff.com disliked her performance, describing it as "insufferable". The film was commercially successful, though financial analysts observed that it had failed to meet box-office expectations. Kaif's sole appearance of 2015 was with Saif Ali Khan in Kabir Khan's Mumbai-based post 26/11 counter-terrorism drama Phantom. To prepare for the role of former RAW agent Nawaz Mistry, Kaif learned some Arabic. Phantom and Kaif's two releases the following year—Fitoor and Baar Baar Dekho—were commercial failures. Abhishek Kapoor's Fitoor is an adaptation of Charles Dickens' Great Expectations in which Kaif played a role based on Estella Havisham along with Aditya Roy Kapur and Tabu. Namrata Joshi found Kaif good in scenes where she dances, smiles or flirts but inadequate in dramatic parts. She was paired with Sidharth Malhotra in Nitya Mehra's science-fiction romance Baar Baar Dekho. Shubhra Gupta of The Indian Express found Kaif expressionless but praised her and Malhotra's energetic dance number in "Kala Chashma", which amassed over one billion views on YouTube. Also in 2016, she joined other Indian celebrities for the "Dream Team Tour", where they performed in various American cities. Kaif next acted opposite Ranbir Kapoor in Anurag Basu's comedy-adventure Jagga Jasoos. The film was released in 2017 after delays caused by changes in the script and multiple reshoots. The film opened to a mixed critical response and was a commercial disappointment. Mayank Shekhar from Mid-Day praised Kaif and Kapoor for being confident before the camera, but Saibal Chatterjee of NDTV noted Kaif's failed attempt to hold her own against Kapoor. In the same year, Kaif reteamed with Salman Khan, reprising the role of Zoya in Ali Abbas Zafar's action thriller Tiger Zinda Hai, a sequel to the 2012 film Ek Tha Tiger. The film premiered on the Christmas weekend to strong box office collections, grossing over ₹1.1 billion within three days of release. Rachit Gupta wrote that Kaif compensated for her limited dialogue by convincingly performing the scenes with hand-to-hand combat and gun fights, calling it "invigorating to see a lady kick-ass with so much élan and pull all the punches like they're real". A BBC article by Shubhra Gupta on Bollywood's objectification of female characters found Kaif's status as an action heroine refreshing. Kaif's two releases in 2018—the period action-adventure film Thugs of Hindostan and the romantic comedy-drama Zero—were made on lucrative budgets. Despite being among the most anticipated releases that year, both films were unsuccessful at the box office. With respect to the failure of the former, Kaif admitted to have not invested much in the project due to her limited screen time. In Aanand L Rai's Zero, she reunited with Shah Rukh Khan and Anushka Sharma after Jab Tak Hai Jaan. Kaif was initially hesitant about accepting the part of a second female lead but eventually agreed after Khan and Rai insisted. Though Zero received mixed reviews from critics, Kaif's portrayal of an alcoholic actress earned her critical praise; Udita Jhunjhunwala of Mint credited her for delivering "what could be considered her most authentic performance". Calling her one of Bollywood's "scene stealers" in 2018, Sukanya Verma thought Kaif was a "revelation" and her "constantly crying eyes, poker-faced cynicism and wholehearted submission to demeaning impulses underscore the fragility under the furore". For Zero, she received a Zee Cine Award for Best Supporting Actress and a Filmfare nomination in the same category. In 2019, Kaif once again collaborated with Salman Khan and Ali Abbas Zafar in the drama Bharat, an adaptation of the South Korean film Ode to My Father (2014). Kaif replaced Priyanka Chopra in the role of an engineer who falls in love with Khan's character. Kaif rejected media speculation that she accepted the part as a favour for her friend Khan and cited her appreciation of the script. Bharat became one of the highest-grossing Hindi films of 2019. While reviews of the film were varied, Mike McCahil of The Guardian noted the "well-tended chemistry" between Kaif and Khan and thought "the sincerity in her gaze" helped the audience ignore her character's questionable choices. Kaif's only 2020 film would have been Rohit Shetty's Sooryavanshi alongside Akshay Kumar, but the COVID-19 pandemic in India caused it several delays until its final November2021 release. An admirer of Shetty's larger-than-life directing style, Kaif played the wife of Kumar's character. Sooryavanshi was a box-office success, briefly becoming India's highest-grossing film of the year. Kaif will star in the comedy horror Phone Bhoot opposite Siddhant Chaturvedi and Ishaan Khatter, slated for release in July 2022. As of 2021, she is filming Tiger 3, the third instalment in the Tiger franchise, and Sriram Raghavan's Merry Christmas with Vijay Sethupathi. She has also committed to starring in Farhan Akhtar's Jee Le Zaraa, along with Priyanka Chopra and Alia Bhatt. Personal life Kaif has a close relationship with her family, and the lack of a father figure in her life has given her a sense of responsibility towards them. While Kaif's mother is Christian and her father is Muslim, Kaif says she was allowed to practise a faith of her choice and is a "firm believer in God". The Times of India reported in 2009 that she visits Siddhivinayak Temple, Mount Mary Church, and Sufi shrine Ajmer Sharif Dargah before her films are released. Kaif is reluctant to discuss her personal life, which has been the subject of media attention in India. "I have always believed that there is life before marriage and after marriage. Before marriage ... you are termed a single woman and I choose to conduct that part of my life with absolute dignity and discretion." Although rumors of a relationship with actor Salman Khan emerged in 2003, it was not until years after their breakup that Kaif spoke of it, calling it her first serious relationship. They have remained friends, and she credits Khan for giving her confidence and guidance. Kaif was linked to actor Ranbir Kapoor during the filming of Ajab Prem Ki Ghazab Kahani. In August2013, photographs of Kapoor and Kaif on holidays were leaked by Stardust which were interpreted as confirmation of a romantic relationship. After the appearance of the photos, Kaif published an open letter stating that she was "upset, distressed and invaded" by the breach of privacy. They broke up in 2016. Kaif married actor Vicky Kaushal on 9December2021 at Six Senses Resort, Fort Barwara in Sawai Madhopur, Rajasthan. Their wedding was the subject of wide media coverage in India. Philanthropy Kaif has garnered praise from The Times of India for her philanthropic work while maintaining a low-profile about it. Vocal about women's issues, Kaif is involved with Relief Projects India, a charitable trust run by her mother which rescues abandoned baby girls and works to prevent female infanticide. Kaif's winnings from the game shows 10 Ka Dum and Kaun Banega Crorepati were donated to her mother's Mercy Home orphanage. She has also been vocal about gender inequality, marital rape and female education in rural India. In 2010, Kaif was one of several celebrities who created promotional messages for Pearls Wave Trust, which campaigns against violence and abuse of women and girls. Discussing gender pay gap in 2019, she spoke in favour of more big-budget, female-dominated Bollywood films. In 2007, Kaif joined the efforts of the United Nations Office on Drugs and Crime (UNODC) to curb human trafficking in India. In 2009 and 2010, Kaif also walked the ramp for charity as part of Salman Khan's "Being Human" show. To raise funds for a new school in Madurai, she recorded Rhyme Skool (2010), an album of nursery rhymes composed by A. R. Rahman. Kaif visited sepoys in Jammu as part of NDTV's reality program Jai Jawan (2011). The following year she visited the Cancer Patients Aid Association to gift cancer survivors and increase public awareness of breast and cervical cancer. In 2013, she appeared alongside other celebrities in a commercial, produced by the National Film Development Corporation of India, to create awareness about children's education. In 2021, she donated an undisclosed amount of money to PM CARES Fund, a relief effort against the COVID-19 pandemic in India. Media image Kaif's Bollywood success has sparked an influx of foreign talents hoping to establish themselves in the industry. According to an India Today article, despite her dissimilarity to a conventional Bollywood heroine, Kaif "turned every adversity into opportunity and climbed the slippery pole of stardom". Alia Waheed of The Guardian wrote that Kaif "fitted the new trend for a more modern image of the Bollywood heroine" through her Western style. As part of a career analysis, Nivedita Mishra of Hindustan Times noted that despite initial poor command of the Hindi language and an unsuccessful acting debut, Kaif later took on roles in films that highlighted her "charming and jovial" screen presence. Mishra further said Kaif established herself as one of India's highest-paid actresses by accepting her limitations, emphasising strengths as an artist and making smart choices. In response to being stereotyped, Kaif spoke of believing in herself and using it as a motivation to do what she likes. Despite being a commercially successful film star, Kaif has received mixed reviews for her acting prowess. Writing for Firstpost, Anuya Jakatdar suggested that Kaif should accept challenging parts instead of "coasting on her co-star's box office appeal" and criticised her inclination towards glamorous roles. Khalid Mohamed of Khaleej Times similarly found her unwillingness to take risks by acting in independent films a weakness. Asked if she has a dream role, Kaif said she chooses scripts intuitively and does not have a preference for a particular genre. Kaif's dancing ability has received better reviews; she was described as one of Bollywood's best dancers by The Times of India and The Indian Express. Rachit Gupta hails her "the undisputed Queen of dance numbers in Bollywood". Initially reluctant to dance in films, Kaif has developed a love for dancing and later described it a joyful and relaxing experience. She spends several hours a day practising traditional dance. Kaif is cited in the media as one of India's most beautiful celebrities, and has ranked highly in polls choosing the most attractive Indian celebrities. She was named the "World's Sexiest Woman" by FHM India five times from 2008 to 2013, and appeared on Verves list of most powerful women in 2009 and 2010. The UK magazine Eastern Eye called her the "Sexiest Asian Woman" from 2008 to 2010, and again in 2013. Kaif was named The Times of Indias "Most Desirable Woman" in 2010, and was later ranked second from 2011 to 2013. In 2010 and 2011, Mattel released two sets of Barbie dolls modelled on Kaif. The Indian edition of People described her as "India's Most Beautiful Woman" in 2011 and three years later she topped Maxim Indias "Hot 100" poll. A life-size, wax figure of her was installed in London's Madame Tussauds in March2015, making her the eighth Bollywood actor to have been replicated as a wax statue there. Shikha Talwar of GQ India commented on Kaif's "enviable physique", which she attributed to her workout routines and healthy diet. Journalists from The Hindu and Hindustan Times took note of her "trademark elegance and simplistic style" and the "sense of originality and immense grace" in her fashion. In 2019, Kaif launched her cosmetic brand Kay Beauty, selling products like nail paints, lip and face highlighters, eye shadows, and foundations. Speaking to Cosmopolitan, she said her brand aims to defy society's exclusive beauty standards and promote inclusivity and comfort in one's skin. Kaif is a celebrity spokesperson for a number of brands including Slice, Nakshatra, Lux, Panasonic, Lakmé and L'Oréal. The Economic Times ranked Kaif India's second most prominent endorser in 2012. Hindustan Times reported in 2014 that she received to for each endorsement, making her one of India's highest-paid celebrity endorsers. Kaif was included on Forbes list of India's best-known entertainers from 2012 to 2019, peaking at the ninth position in 2013 with an estimated annual income of . According to a 2021 Forbes India estimate, her net worth is . As of 2021, she is the tenth most-followed Bollywood celebrity on Instagram. Notes References Further reading External links 1983 births Living people British film actresses British female models British people of Indian descent British actresses of Indian descent English people of Kashmiri descent Age controversies Hong Kong film actresses Hong Kong people of Indian descent Hong Kong people of English descent British expatriates in India Actresses in Hindi cinema Actresses in Malayalam cinema Actresses in Telugu cinema European actresses in India European actresses in Bollywood Actresses of European descent in Indian films Actresses of European descent in Bollywood films 21st-century Hong Kong actresses 21st-century British actresses

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What did James accomplish in the 20s and 30s?

What did Skip James accomplish in the 1920s and 1930s?

Skip James

In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music - blues, spirituals, cover versions and original compositions - frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. CANNOTANSWER

In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi.

Nehemiah Curtis "Skip" James (June 9, 1902October 3, 1969) was an American Delta blues singer, guitarist, pianist and songwriter. His guitar playing is noted for its dark, minor-key sound, played in an open D-minor tuning with an intricate fingerpicking technique. James first recorded for Paramount Records in 1931, but these recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity. After a long absence from the public eye, James was rediscovered in 1964 by blues enthusiasts including John Fahey, helping further the blues and folk music revival of the 1950s and early 1960s. During this period, James appeared at folk and blues festivals, gave concerts around the country, and recorded several albums for various record labels. His songs have influenced generations of musicians and have been adapted by numerous artists. He has been hailed as "one of the seminal figures of the blues." Biography Early years James was born near Bentonia, Mississippi. His father was a bootlegger who reformed and became a preacher. As a youth, James heard local musicians, such as Henry Stuckey, from whom he learned to play the guitar, and the brothers Charlie and Jesse Sims. James began playing the organ in his teens. He worked on road construction and levee-building crews in Mississippi in the early 1920s and wrote what is perhaps his earliest song, "Illinois Blues", about his experiences as a laborer. He began playing the guitar in open D-minor tuning. 1920s and 1930s In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music – blues, spirituals, cover versions, and original compositions – frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. Rediscovery and legacy For the next thirty years, James made no known recordings and performed sporadically. He was virtually unknown to the general public until about 1960. In 1964, blues enthusiasts John Fahey, Bill Barth, and Henry Vestine found him in a hospital in Tunica, Mississippi. According to Calt, the "rediscovery" of both James and Son House at virtually the same time was the start of the blues revival in the United States. In July 1964, James and other rediscovered musicians appeared at the Newport Folk Festival. Several photographs by the blues promoter Dick Waterman captured this performance, James's first in over 30 years. James subsequently recorded for Takoma Records, Melodeon Records, and Vanguard Records and performed at various engagements until his death from cancer in 1969. More of James's recordings have been available since his death than were available during his lifetime. His 1931 recordings and several of his recordings and concerts from the 1960s have been reissued on numerous compact discs, in and out of print. His songs were not initially recorded as frequently as those of other rediscovered blues musicians. However, the British rock band Cream recorded "I'm So Glad", providing James with $10,000 in royalties, the only windfall of his career. Subsequently, Cream's adaptation was recorded by other groups. James' "22-20" inspired the name of the English group 22-20s. The British post-rock band Hope of the States released a song partially about the life of James, entitled "Nehemiah", which reached number 30 on the UK Singles Chart. Only 15 copies of James' original shellac 78 recordings are still in existence, and have become extremely sought after by collectors such as John Tefteller. In 2004, Wim Wenders directed the film The Soul of a Man (the second part of The Blues, a series produced by Martin Scorsese), focusing on the music of Blind Willie Johnson, J.B. Lenoir and James. Because James had not been filmed before the 1960s, Keith B. Brown played the part of the young James in the documentary. James' song "Hard Time Killing Floor Blues" was featured in the 2000 film O Brother, Where Art Thou? and included on the soundtrack album. James was the inspiration for Dion's 2007 blues album, Son of Skip James, which peaked at No. 4. James was honored with a marker on the Mississippi Blues Trail in Bentonia, his hometown. In 2020, James' song "Devil Got My Woman" was added to the Grammy Hall of Fame. Personality James was described as aloof and moody. The musicologist Dick Spottswood commented, "Skip James, you never knew. Skip could be sunshine, or thunder and lightning depending on his whim of the moment". Musical style James as guitarist James often played guitar with an open D-minor tuning (D–A–D–F–A–D), resulting in the "deep" sound of the 1931 recordings. He reportedly learned this tuning from his musical mentor, the unrecorded bluesman Henry Stuckey, who in turn was said to have acquired it from Bahamian soldiers during the First World War, despite the fact that his service card shows he did not serve overseas. Robert Johnson also recorded in this tuning, his "Hell Hound on My Trail" being based on James's "Devil Got My Woman." James's classically informed fingerpicking style was fast and clean, using the entire register of the guitar, with heavy, hypnotic bass lines. His style of playing had more in common with the Piedmont blues of the East Coast than with the Delta blues of his native Mississippi. The "Bentonia School" James is sometimes associated with the Bentonia School, which is either a subgenre of blues music or a style of playing it. In a 1994 biography of James, I'd Rather Be the Devil: Skip James and the Blues, Stephen Calt maintained that no style of blues originated in Bentonia and that the "Bentonia School" is simply a notion of later blues writers who overestimated the provinciality of Mississippi during the early 20th century, when railways linked small towns. Calt asserts these writers failed to see that in the case of Bentonia bluesman Jack Owens, "the 'tradition' he bore primarily consisted of musical scraps from James' table". Owens and other musicians who may have been contemporaries of James were not recorded until the revival of interest in blues music in the 1960s. Whether the work of these musicians constituted a "school", and whether James originated it or was a member of it himself, remain open questions. One of the last living links to the original Bentonia school is Jimmy "Duck" Holmes, the owner of the famous Blue Front Cafe in Bentonia, Mississippi. Holmes learned to play in this particular style directly from Henry Stuckey, who reportedly taught James and Owens himself. Accordingly, Duck is called the "last of the Bentonia Bluesmen." Discography Paramount 78-RPM records, 1931 Later recordings, 1964–1969 Despite poor health, James recorded several LPs from 1964 to 1969, mostly revisiting his 1931 sides, traditional music, and spirituals, but also including a handful of newly written blues meditating on his illness and convalescence. These five prolific years have not been thoroughly documented: recordings, outtakes, and interviews not released on James's LPs (which have been repeatedly cannibalized and reissued) are scattered among many compilations released by small labels. Previously unreleased performances continue to be found and released but have been left largely unexplained, sometimes hours' worth at a time. Original recordings and reissues are listed below. Greatest of the Delta Blues Singers (Melodeon, Biograph, 1964) She Lyin' (Adelphi, 1964; first released by Genes, 1996) Today! (Vanguard, 1966) Devil Got My Woman (Vanguard, 1968) I'm So Glad (Vanguard, 1978) Live: Boston, 1964 & Philadelphia, 1966 (Document, 1994) Skip's Piano Blues, 1964 (Genes, 1998) Blues from the Delta, with two previously unreleased recordings (Vanguard, 1998) The Complete Early Recordings of Skip James – 1930 (Yazoo, 1994) The Complete Bloomington, Indiana Concert, March 30, 1968 (Document, 1999) Skip's Guitar Blues, 1964(?), (Genes, 1999) Studio Sessions: Rare and Unreleased, 1967 (Vanguard, 2003) Hard Time Killing Floor Blues (Biograph, 2003†) Heroes of the Blues: The Very Best of Skip James (Shout!, 2003) Hard Time (Universe, 2003†) Cypress Grove Blues (2004) Hard Time Killin' Floor (Yazoo 2075, 2005) References External links Interview with Skip James' surviving cousin 1902 births 1969 deaths People from Bentonia, Mississippi American blues singers American blues guitarists American male guitarists American blues pianists American male pianists Country blues singers Songwriters from Mississippi Blues musicians from Mississippi Blues revival musicians Country blues musicians Delta blues musicians Vanguard Records artists Deaths from cancer in Mississippi Paramount Records artists 20th-century American guitarists 20th-century American pianists Guitarists from Mississippi Mississippi Blues Trail African-American male songwriters African-American pianists African-American guitarists 20th-century African-American male singers

C_923c916a2fff44218bc884172fe469d5_1

Did he get the part he was auditioning for?

Did Skip James get the part he was auditioning for with H. C. Speir in Jackson, Mississippi?

Skip James

In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music - blues, spirituals, cover versions and original compositions - frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. CANNOTANSWER

His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician.

Nehemiah Curtis "Skip" James (June 9, 1902October 3, 1969) was an American Delta blues singer, guitarist, pianist and songwriter. His guitar playing is noted for its dark, minor-key sound, played in an open D-minor tuning with an intricate fingerpicking technique. James first recorded for Paramount Records in 1931, but these recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity. After a long absence from the public eye, James was rediscovered in 1964 by blues enthusiasts including John Fahey, helping further the blues and folk music revival of the 1950s and early 1960s. During this period, James appeared at folk and blues festivals, gave concerts around the country, and recorded several albums for various record labels. His songs have influenced generations of musicians and have been adapted by numerous artists. He has been hailed as "one of the seminal figures of the blues." Biography Early years James was born near Bentonia, Mississippi. His father was a bootlegger who reformed and became a preacher. As a youth, James heard local musicians, such as Henry Stuckey, from whom he learned to play the guitar, and the brothers Charlie and Jesse Sims. James began playing the organ in his teens. He worked on road construction and levee-building crews in Mississippi in the early 1920s and wrote what is perhaps his earliest song, "Illinois Blues", about his experiences as a laborer. He began playing the guitar in open D-minor tuning. 1920s and 1930s In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music – blues, spirituals, cover versions, and original compositions – frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. Rediscovery and legacy For the next thirty years, James made no known recordings and performed sporadically. He was virtually unknown to the general public until about 1960. In 1964, blues enthusiasts John Fahey, Bill Barth, and Henry Vestine found him in a hospital in Tunica, Mississippi. According to Calt, the "rediscovery" of both James and Son House at virtually the same time was the start of the blues revival in the United States. In July 1964, James and other rediscovered musicians appeared at the Newport Folk Festival. Several photographs by the blues promoter Dick Waterman captured this performance, James's first in over 30 years. James subsequently recorded for Takoma Records, Melodeon Records, and Vanguard Records and performed at various engagements until his death from cancer in 1969. More of James's recordings have been available since his death than were available during his lifetime. His 1931 recordings and several of his recordings and concerts from the 1960s have been reissued on numerous compact discs, in and out of print. His songs were not initially recorded as frequently as those of other rediscovered blues musicians. However, the British rock band Cream recorded "I'm So Glad", providing James with $10,000 in royalties, the only windfall of his career. Subsequently, Cream's adaptation was recorded by other groups. James' "22-20" inspired the name of the English group 22-20s. The British post-rock band Hope of the States released a song partially about the life of James, entitled "Nehemiah", which reached number 30 on the UK Singles Chart. Only 15 copies of James' original shellac 78 recordings are still in existence, and have become extremely sought after by collectors such as John Tefteller. In 2004, Wim Wenders directed the film The Soul of a Man (the second part of The Blues, a series produced by Martin Scorsese), focusing on the music of Blind Willie Johnson, J.B. Lenoir and James. Because James had not been filmed before the 1960s, Keith B. Brown played the part of the young James in the documentary. James' song "Hard Time Killing Floor Blues" was featured in the 2000 film O Brother, Where Art Thou? and included on the soundtrack album. James was the inspiration for Dion's 2007 blues album, Son of Skip James, which peaked at No. 4. James was honored with a marker on the Mississippi Blues Trail in Bentonia, his hometown. In 2020, James' song "Devil Got My Woman" was added to the Grammy Hall of Fame. Personality James was described as aloof and moody. The musicologist Dick Spottswood commented, "Skip James, you never knew. Skip could be sunshine, or thunder and lightning depending on his whim of the moment". Musical style James as guitarist James often played guitar with an open D-minor tuning (D–A–D–F–A–D), resulting in the "deep" sound of the 1931 recordings. He reportedly learned this tuning from his musical mentor, the unrecorded bluesman Henry Stuckey, who in turn was said to have acquired it from Bahamian soldiers during the First World War, despite the fact that his service card shows he did not serve overseas. Robert Johnson also recorded in this tuning, his "Hell Hound on My Trail" being based on James's "Devil Got My Woman." James's classically informed fingerpicking style was fast and clean, using the entire register of the guitar, with heavy, hypnotic bass lines. His style of playing had more in common with the Piedmont blues of the East Coast than with the Delta blues of his native Mississippi. The "Bentonia School" James is sometimes associated with the Bentonia School, which is either a subgenre of blues music or a style of playing it. In a 1994 biography of James, I'd Rather Be the Devil: Skip James and the Blues, Stephen Calt maintained that no style of blues originated in Bentonia and that the "Bentonia School" is simply a notion of later blues writers who overestimated the provinciality of Mississippi during the early 20th century, when railways linked small towns. Calt asserts these writers failed to see that in the case of Bentonia bluesman Jack Owens, "the 'tradition' he bore primarily consisted of musical scraps from James' table". Owens and other musicians who may have been contemporaries of James were not recorded until the revival of interest in blues music in the 1960s. Whether the work of these musicians constituted a "school", and whether James originated it or was a member of it himself, remain open questions. One of the last living links to the original Bentonia school is Jimmy "Duck" Holmes, the owner of the famous Blue Front Cafe in Bentonia, Mississippi. Holmes learned to play in this particular style directly from Henry Stuckey, who reportedly taught James and Owens himself. Accordingly, Duck is called the "last of the Bentonia Bluesmen." Discography Paramount 78-RPM records, 1931 Later recordings, 1964–1969 Despite poor health, James recorded several LPs from 1964 to 1969, mostly revisiting his 1931 sides, traditional music, and spirituals, but also including a handful of newly written blues meditating on his illness and convalescence. These five prolific years have not been thoroughly documented: recordings, outtakes, and interviews not released on James's LPs (which have been repeatedly cannibalized and reissued) are scattered among many compilations released by small labels. Previously unreleased performances continue to be found and released but have been left largely unexplained, sometimes hours' worth at a time. Original recordings and reissues are listed below. Greatest of the Delta Blues Singers (Melodeon, Biograph, 1964) She Lyin' (Adelphi, 1964; first released by Genes, 1996) Today! (Vanguard, 1966) Devil Got My Woman (Vanguard, 1968) I'm So Glad (Vanguard, 1978) Live: Boston, 1964 & Philadelphia, 1966 (Document, 1994) Skip's Piano Blues, 1964 (Genes, 1998) Blues from the Delta, with two previously unreleased recordings (Vanguard, 1998) The Complete Early Recordings of Skip James – 1930 (Yazoo, 1994) The Complete Bloomington, Indiana Concert, March 30, 1968 (Document, 1999) Skip's Guitar Blues, 1964(?), (Genes, 1999) Studio Sessions: Rare and Unreleased, 1967 (Vanguard, 2003) Hard Time Killing Floor Blues (Biograph, 2003†) Heroes of the Blues: The Very Best of Skip James (Shout!, 2003) Hard Time (Universe, 2003†) Cypress Grove Blues (2004) Hard Time Killin' Floor (Yazoo 2075, 2005) References External links Interview with Skip James' surviving cousin 1902 births 1969 deaths People from Bentonia, Mississippi American blues singers American blues guitarists American male guitarists American blues pianists American male pianists Country blues singers Songwriters from Mississippi Blues musicians from Mississippi Blues revival musicians Country blues musicians Delta blues musicians Vanguard Records artists Deaths from cancer in Mississippi Paramount Records artists 20th-century American guitarists 20th-century American pianists Guitarists from Mississippi Mississippi Blues Trail African-American male songwriters African-American pianists African-American guitarists 20th-century African-American male singers

C_923c916a2fff44218bc884172fe469d5_1

How many people followed his way of doing blues?

How many people followed Skip James' way of doing blues?

Skip James

In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music - blues, spirituals, cover versions and original compositions - frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. CANNOTANSWER

As was typical of his era, James recorded various styles of music - blues, spirituals, cover versions and original compositions - frequently blurring the lines between genres and sources.

Nehemiah Curtis "Skip" James (June 9, 1902October 3, 1969) was an American Delta blues singer, guitarist, pianist and songwriter. His guitar playing is noted for its dark, minor-key sound, played in an open D-minor tuning with an intricate fingerpicking technique. James first recorded for Paramount Records in 1931, but these recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity. After a long absence from the public eye, James was rediscovered in 1964 by blues enthusiasts including John Fahey, helping further the blues and folk music revival of the 1950s and early 1960s. During this period, James appeared at folk and blues festivals, gave concerts around the country, and recorded several albums for various record labels. His songs have influenced generations of musicians and have been adapted by numerous artists. He has been hailed as "one of the seminal figures of the blues." Biography Early years James was born near Bentonia, Mississippi. His father was a bootlegger who reformed and became a preacher. As a youth, James heard local musicians, such as Henry Stuckey, from whom he learned to play the guitar, and the brothers Charlie and Jesse Sims. James began playing the organ in his teens. He worked on road construction and levee-building crews in Mississippi in the early 1920s and wrote what is perhaps his earliest song, "Illinois Blues", about his experiences as a laborer. He began playing the guitar in open D-minor tuning. 1920s and 1930s In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music – blues, spirituals, cover versions, and original compositions – frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. Rediscovery and legacy For the next thirty years, James made no known recordings and performed sporadically. He was virtually unknown to the general public until about 1960. In 1964, blues enthusiasts John Fahey, Bill Barth, and Henry Vestine found him in a hospital in Tunica, Mississippi. According to Calt, the "rediscovery" of both James and Son House at virtually the same time was the start of the blues revival in the United States. In July 1964, James and other rediscovered musicians appeared at the Newport Folk Festival. Several photographs by the blues promoter Dick Waterman captured this performance, James's first in over 30 years. James subsequently recorded for Takoma Records, Melodeon Records, and Vanguard Records and performed at various engagements until his death from cancer in 1969. More of James's recordings have been available since his death than were available during his lifetime. His 1931 recordings and several of his recordings and concerts from the 1960s have been reissued on numerous compact discs, in and out of print. His songs were not initially recorded as frequently as those of other rediscovered blues musicians. However, the British rock band Cream recorded "I'm So Glad", providing James with $10,000 in royalties, the only windfall of his career. Subsequently, Cream's adaptation was recorded by other groups. James' "22-20" inspired the name of the English group 22-20s. The British post-rock band Hope of the States released a song partially about the life of James, entitled "Nehemiah", which reached number 30 on the UK Singles Chart. Only 15 copies of James' original shellac 78 recordings are still in existence, and have become extremely sought after by collectors such as John Tefteller. In 2004, Wim Wenders directed the film The Soul of a Man (the second part of The Blues, a series produced by Martin Scorsese), focusing on the music of Blind Willie Johnson, J.B. Lenoir and James. Because James had not been filmed before the 1960s, Keith B. Brown played the part of the young James in the documentary. James' song "Hard Time Killing Floor Blues" was featured in the 2000 film O Brother, Where Art Thou? and included on the soundtrack album. James was the inspiration for Dion's 2007 blues album, Son of Skip James, which peaked at No. 4. James was honored with a marker on the Mississippi Blues Trail in Bentonia, his hometown. In 2020, James' song "Devil Got My Woman" was added to the Grammy Hall of Fame. Personality James was described as aloof and moody. The musicologist Dick Spottswood commented, "Skip James, you never knew. Skip could be sunshine, or thunder and lightning depending on his whim of the moment". Musical style James as guitarist James often played guitar with an open D-minor tuning (D–A–D–F–A–D), resulting in the "deep" sound of the 1931 recordings. He reportedly learned this tuning from his musical mentor, the unrecorded bluesman Henry Stuckey, who in turn was said to have acquired it from Bahamian soldiers during the First World War, despite the fact that his service card shows he did not serve overseas. Robert Johnson also recorded in this tuning, his "Hell Hound on My Trail" being based on James's "Devil Got My Woman." James's classically informed fingerpicking style was fast and clean, using the entire register of the guitar, with heavy, hypnotic bass lines. His style of playing had more in common with the Piedmont blues of the East Coast than with the Delta blues of his native Mississippi. The "Bentonia School" James is sometimes associated with the Bentonia School, which is either a subgenre of blues music or a style of playing it. In a 1994 biography of James, I'd Rather Be the Devil: Skip James and the Blues, Stephen Calt maintained that no style of blues originated in Bentonia and that the "Bentonia School" is simply a notion of later blues writers who overestimated the provinciality of Mississippi during the early 20th century, when railways linked small towns. Calt asserts these writers failed to see that in the case of Bentonia bluesman Jack Owens, "the 'tradition' he bore primarily consisted of musical scraps from James' table". Owens and other musicians who may have been contemporaries of James were not recorded until the revival of interest in blues music in the 1960s. Whether the work of these musicians constituted a "school", and whether James originated it or was a member of it himself, remain open questions. One of the last living links to the original Bentonia school is Jimmy "Duck" Holmes, the owner of the famous Blue Front Cafe in Bentonia, Mississippi. Holmes learned to play in this particular style directly from Henry Stuckey, who reportedly taught James and Owens himself. Accordingly, Duck is called the "last of the Bentonia Bluesmen." Discography Paramount 78-RPM records, 1931 Later recordings, 1964–1969 Despite poor health, James recorded several LPs from 1964 to 1969, mostly revisiting his 1931 sides, traditional music, and spirituals, but also including a handful of newly written blues meditating on his illness and convalescence. These five prolific years have not been thoroughly documented: recordings, outtakes, and interviews not released on James's LPs (which have been repeatedly cannibalized and reissued) are scattered among many compilations released by small labels. Previously unreleased performances continue to be found and released but have been left largely unexplained, sometimes hours' worth at a time. Original recordings and reissues are listed below. Greatest of the Delta Blues Singers (Melodeon, Biograph, 1964) She Lyin' (Adelphi, 1964; first released by Genes, 1996) Today! (Vanguard, 1966) Devil Got My Woman (Vanguard, 1968) I'm So Glad (Vanguard, 1978) Live: Boston, 1964 & Philadelphia, 1966 (Document, 1994) Skip's Piano Blues, 1964 (Genes, 1998) Blues from the Delta, with two previously unreleased recordings (Vanguard, 1998) The Complete Early Recordings of Skip James – 1930 (Yazoo, 1994) The Complete Bloomington, Indiana Concert, March 30, 1968 (Document, 1999) Skip's Guitar Blues, 1964(?), (Genes, 1999) Studio Sessions: Rare and Unreleased, 1967 (Vanguard, 2003) Hard Time Killing Floor Blues (Biograph, 2003†) Heroes of the Blues: The Very Best of Skip James (Shout!, 2003) Hard Time (Universe, 2003†) Cypress Grove Blues (2004) Hard Time Killin' Floor (Yazoo 2075, 2005) References External links Interview with Skip James' surviving cousin 1902 births 1969 deaths People from Bentonia, Mississippi American blues singers American blues guitarists American male guitarists American blues pianists American male pianists Country blues singers Songwriters from Mississippi Blues musicians from Mississippi Blues revival musicians Country blues musicians Delta blues musicians Vanguard Records artists Deaths from cancer in Mississippi Paramount Records artists 20th-century American guitarists 20th-century American pianists Guitarists from Mississippi Mississippi Blues Trail African-American male songwriters African-American pianists African-American guitarists 20th-century African-American male singers

C_923c916a2fff44218bc884172fe469d5_1

How was this received by audiences?

How was Skip James' way of doing blues received by audiences?

Skip James

In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music - blues, spirituals, cover versions and original compositions - frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. CANNOTANSWER

"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music".

Nehemiah Curtis "Skip" James (June 9, 1902October 3, 1969) was an American Delta blues singer, guitarist, pianist and songwriter. His guitar playing is noted for its dark, minor-key sound, played in an open D-minor tuning with an intricate fingerpicking technique. James first recorded for Paramount Records in 1931, but these recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity. After a long absence from the public eye, James was rediscovered in 1964 by blues enthusiasts including John Fahey, helping further the blues and folk music revival of the 1950s and early 1960s. During this period, James appeared at folk and blues festivals, gave concerts around the country, and recorded several albums for various record labels. His songs have influenced generations of musicians and have been adapted by numerous artists. He has been hailed as "one of the seminal figures of the blues." Biography Early years James was born near Bentonia, Mississippi. His father was a bootlegger who reformed and became a preacher. As a youth, James heard local musicians, such as Henry Stuckey, from whom he learned to play the guitar, and the brothers Charlie and Jesse Sims. James began playing the organ in his teens. He worked on road construction and levee-building crews in Mississippi in the early 1920s and wrote what is perhaps his earliest song, "Illinois Blues", about his experiences as a laborer. He began playing the guitar in open D-minor tuning. 1920s and 1930s In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music – blues, spirituals, cover versions, and original compositions – frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. Rediscovery and legacy For the next thirty years, James made no known recordings and performed sporadically. He was virtually unknown to the general public until about 1960. In 1964, blues enthusiasts John Fahey, Bill Barth, and Henry Vestine found him in a hospital in Tunica, Mississippi. According to Calt, the "rediscovery" of both James and Son House at virtually the same time was the start of the blues revival in the United States. In July 1964, James and other rediscovered musicians appeared at the Newport Folk Festival. Several photographs by the blues promoter Dick Waterman captured this performance, James's first in over 30 years. James subsequently recorded for Takoma Records, Melodeon Records, and Vanguard Records and performed at various engagements until his death from cancer in 1969. More of James's recordings have been available since his death than were available during his lifetime. His 1931 recordings and several of his recordings and concerts from the 1960s have been reissued on numerous compact discs, in and out of print. His songs were not initially recorded as frequently as those of other rediscovered blues musicians. However, the British rock band Cream recorded "I'm So Glad", providing James with $10,000 in royalties, the only windfall of his career. Subsequently, Cream's adaptation was recorded by other groups. James' "22-20" inspired the name of the English group 22-20s. The British post-rock band Hope of the States released a song partially about the life of James, entitled "Nehemiah", which reached number 30 on the UK Singles Chart. Only 15 copies of James' original shellac 78 recordings are still in existence, and have become extremely sought after by collectors such as John Tefteller. In 2004, Wim Wenders directed the film The Soul of a Man (the second part of The Blues, a series produced by Martin Scorsese), focusing on the music of Blind Willie Johnson, J.B. Lenoir and James. Because James had not been filmed before the 1960s, Keith B. Brown played the part of the young James in the documentary. James' song "Hard Time Killing Floor Blues" was featured in the 2000 film O Brother, Where Art Thou? and included on the soundtrack album. James was the inspiration for Dion's 2007 blues album, Son of Skip James, which peaked at No. 4. James was honored with a marker on the Mississippi Blues Trail in Bentonia, his hometown. In 2020, James' song "Devil Got My Woman" was added to the Grammy Hall of Fame. Personality James was described as aloof and moody. The musicologist Dick Spottswood commented, "Skip James, you never knew. Skip could be sunshine, or thunder and lightning depending on his whim of the moment". Musical style James as guitarist James often played guitar with an open D-minor tuning (D–A–D–F–A–D), resulting in the "deep" sound of the 1931 recordings. He reportedly learned this tuning from his musical mentor, the unrecorded bluesman Henry Stuckey, who in turn was said to have acquired it from Bahamian soldiers during the First World War, despite the fact that his service card shows he did not serve overseas. Robert Johnson also recorded in this tuning, his "Hell Hound on My Trail" being based on James's "Devil Got My Woman." James's classically informed fingerpicking style was fast and clean, using the entire register of the guitar, with heavy, hypnotic bass lines. His style of playing had more in common with the Piedmont blues of the East Coast than with the Delta blues of his native Mississippi. The "Bentonia School" James is sometimes associated with the Bentonia School, which is either a subgenre of blues music or a style of playing it. In a 1994 biography of James, I'd Rather Be the Devil: Skip James and the Blues, Stephen Calt maintained that no style of blues originated in Bentonia and that the "Bentonia School" is simply a notion of later blues writers who overestimated the provinciality of Mississippi during the early 20th century, when railways linked small towns. Calt asserts these writers failed to see that in the case of Bentonia bluesman Jack Owens, "the 'tradition' he bore primarily consisted of musical scraps from James' table". Owens and other musicians who may have been contemporaries of James were not recorded until the revival of interest in blues music in the 1960s. Whether the work of these musicians constituted a "school", and whether James originated it or was a member of it himself, remain open questions. One of the last living links to the original Bentonia school is Jimmy "Duck" Holmes, the owner of the famous Blue Front Cafe in Bentonia, Mississippi. Holmes learned to play in this particular style directly from Henry Stuckey, who reportedly taught James and Owens himself. Accordingly, Duck is called the "last of the Bentonia Bluesmen." Discography Paramount 78-RPM records, 1931 Later recordings, 1964–1969 Despite poor health, James recorded several LPs from 1964 to 1969, mostly revisiting his 1931 sides, traditional music, and spirituals, but also including a handful of newly written blues meditating on his illness and convalescence. These five prolific years have not been thoroughly documented: recordings, outtakes, and interviews not released on James's LPs (which have been repeatedly cannibalized and reissued) are scattered among many compilations released by small labels. Previously unreleased performances continue to be found and released but have been left largely unexplained, sometimes hours' worth at a time. Original recordings and reissues are listed below. Greatest of the Delta Blues Singers (Melodeon, Biograph, 1964) She Lyin' (Adelphi, 1964; first released by Genes, 1996) Today! (Vanguard, 1966) Devil Got My Woman (Vanguard, 1968) I'm So Glad (Vanguard, 1978) Live: Boston, 1964 & Philadelphia, 1966 (Document, 1994) Skip's Piano Blues, 1964 (Genes, 1998) Blues from the Delta, with two previously unreleased recordings (Vanguard, 1998) The Complete Early Recordings of Skip James – 1930 (Yazoo, 1994) The Complete Bloomington, Indiana Concert, March 30, 1968 (Document, 1999) Skip's Guitar Blues, 1964(?), (Genes, 1999) Studio Sessions: Rare and Unreleased, 1967 (Vanguard, 2003) Hard Time Killing Floor Blues (Biograph, 2003†) Heroes of the Blues: The Very Best of Skip James (Shout!, 2003) Hard Time (Universe, 2003†) Cypress Grove Blues (2004) Hard Time Killin' Floor (Yazoo 2075, 2005) References External links Interview with Skip James' surviving cousin 1902 births 1969 deaths People from Bentonia, Mississippi American blues singers American blues guitarists American male guitarists American blues pianists American male pianists Country blues singers Songwriters from Mississippi Blues musicians from Mississippi Blues revival musicians Country blues musicians Delta blues musicians Vanguard Records artists Deaths from cancer in Mississippi Paramount Records artists 20th-century American guitarists 20th-century American pianists Guitarists from Mississippi Mississippi Blues Trail African-American male songwriters African-American pianists African-American guitarists 20th-century African-American male singers

C_923c916a2fff44218bc884172fe469d5_1

Did he receive any awards?

Did Skip James receive any awards?

Skip James

In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music - blues, spirituals, cover versions and original compositions - frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. CANNOTANSWER

CANNOTANSWER

Nehemiah Curtis "Skip" James (June 9, 1902October 3, 1969) was an American Delta blues singer, guitarist, pianist and songwriter. His guitar playing is noted for its dark, minor-key sound, played in an open D-minor tuning with an intricate fingerpicking technique. James first recorded for Paramount Records in 1931, but these recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity. After a long absence from the public eye, James was rediscovered in 1964 by blues enthusiasts including John Fahey, helping further the blues and folk music revival of the 1950s and early 1960s. During this period, James appeared at folk and blues festivals, gave concerts around the country, and recorded several albums for various record labels. His songs have influenced generations of musicians and have been adapted by numerous artists. He has been hailed as "one of the seminal figures of the blues." Biography Early years James was born near Bentonia, Mississippi. His father was a bootlegger who reformed and became a preacher. As a youth, James heard local musicians, such as Henry Stuckey, from whom he learned to play the guitar, and the brothers Charlie and Jesse Sims. James began playing the organ in his teens. He worked on road construction and levee-building crews in Mississippi in the early 1920s and wrote what is perhaps his earliest song, "Illinois Blues", about his experiences as a laborer. He began playing the guitar in open D-minor tuning. 1920s and 1930s In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music – blues, spirituals, cover versions, and original compositions – frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. Rediscovery and legacy For the next thirty years, James made no known recordings and performed sporadically. He was virtually unknown to the general public until about 1960. In 1964, blues enthusiasts John Fahey, Bill Barth, and Henry Vestine found him in a hospital in Tunica, Mississippi. According to Calt, the "rediscovery" of both James and Son House at virtually the same time was the start of the blues revival in the United States. In July 1964, James and other rediscovered musicians appeared at the Newport Folk Festival. Several photographs by the blues promoter Dick Waterman captured this performance, James's first in over 30 years. James subsequently recorded for Takoma Records, Melodeon Records, and Vanguard Records and performed at various engagements until his death from cancer in 1969. More of James's recordings have been available since his death than were available during his lifetime. His 1931 recordings and several of his recordings and concerts from the 1960s have been reissued on numerous compact discs, in and out of print. His songs were not initially recorded as frequently as those of other rediscovered blues musicians. However, the British rock band Cream recorded "I'm So Glad", providing James with $10,000 in royalties, the only windfall of his career. Subsequently, Cream's adaptation was recorded by other groups. James' "22-20" inspired the name of the English group 22-20s. The British post-rock band Hope of the States released a song partially about the life of James, entitled "Nehemiah", which reached number 30 on the UK Singles Chart. Only 15 copies of James' original shellac 78 recordings are still in existence, and have become extremely sought after by collectors such as John Tefteller. In 2004, Wim Wenders directed the film The Soul of a Man (the second part of The Blues, a series produced by Martin Scorsese), focusing on the music of Blind Willie Johnson, J.B. Lenoir and James. Because James had not been filmed before the 1960s, Keith B. Brown played the part of the young James in the documentary. James' song "Hard Time Killing Floor Blues" was featured in the 2000 film O Brother, Where Art Thou? and included on the soundtrack album. James was the inspiration for Dion's 2007 blues album, Son of Skip James, which peaked at No. 4. James was honored with a marker on the Mississippi Blues Trail in Bentonia, his hometown. In 2020, James' song "Devil Got My Woman" was added to the Grammy Hall of Fame. Personality James was described as aloof and moody. The musicologist Dick Spottswood commented, "Skip James, you never knew. Skip could be sunshine, or thunder and lightning depending on his whim of the moment". Musical style James as guitarist James often played guitar with an open D-minor tuning (D–A–D–F–A–D), resulting in the "deep" sound of the 1931 recordings. He reportedly learned this tuning from his musical mentor, the unrecorded bluesman Henry Stuckey, who in turn was said to have acquired it from Bahamian soldiers during the First World War, despite the fact that his service card shows he did not serve overseas. Robert Johnson also recorded in this tuning, his "Hell Hound on My Trail" being based on James's "Devil Got My Woman." James's classically informed fingerpicking style was fast and clean, using the entire register of the guitar, with heavy, hypnotic bass lines. His style of playing had more in common with the Piedmont blues of the East Coast than with the Delta blues of his native Mississippi. The "Bentonia School" James is sometimes associated with the Bentonia School, which is either a subgenre of blues music or a style of playing it. In a 1994 biography of James, I'd Rather Be the Devil: Skip James and the Blues, Stephen Calt maintained that no style of blues originated in Bentonia and that the "Bentonia School" is simply a notion of later blues writers who overestimated the provinciality of Mississippi during the early 20th century, when railways linked small towns. Calt asserts these writers failed to see that in the case of Bentonia bluesman Jack Owens, "the 'tradition' he bore primarily consisted of musical scraps from James' table". Owens and other musicians who may have been contemporaries of James were not recorded until the revival of interest in blues music in the 1960s. Whether the work of these musicians constituted a "school", and whether James originated it or was a member of it himself, remain open questions. One of the last living links to the original Bentonia school is Jimmy "Duck" Holmes, the owner of the famous Blue Front Cafe in Bentonia, Mississippi. Holmes learned to play in this particular style directly from Henry Stuckey, who reportedly taught James and Owens himself. Accordingly, Duck is called the "last of the Bentonia Bluesmen." Discography Paramount 78-RPM records, 1931 Later recordings, 1964–1969 Despite poor health, James recorded several LPs from 1964 to 1969, mostly revisiting his 1931 sides, traditional music, and spirituals, but also including a handful of newly written blues meditating on his illness and convalescence. These five prolific years have not been thoroughly documented: recordings, outtakes, and interviews not released on James's LPs (which have been repeatedly cannibalized and reissued) are scattered among many compilations released by small labels. Previously unreleased performances continue to be found and released but have been left largely unexplained, sometimes hours' worth at a time. Original recordings and reissues are listed below. Greatest of the Delta Blues Singers (Melodeon, Biograph, 1964) She Lyin' (Adelphi, 1964; first released by Genes, 1996) Today! (Vanguard, 1966) Devil Got My Woman (Vanguard, 1968) I'm So Glad (Vanguard, 1978) Live: Boston, 1964 & Philadelphia, 1966 (Document, 1994) Skip's Piano Blues, 1964 (Genes, 1998) Blues from the Delta, with two previously unreleased recordings (Vanguard, 1998) The Complete Early Recordings of Skip James – 1930 (Yazoo, 1994) The Complete Bloomington, Indiana Concert, March 30, 1968 (Document, 1999) Skip's Guitar Blues, 1964(?), (Genes, 1999) Studio Sessions: Rare and Unreleased, 1967 (Vanguard, 2003) Hard Time Killing Floor Blues (Biograph, 2003†) Heroes of the Blues: The Very Best of Skip James (Shout!, 2003) Hard Time (Universe, 2003†) Cypress Grove Blues (2004) Hard Time Killin' Floor (Yazoo 2075, 2005) References External links Interview with Skip James' surviving cousin 1902 births 1969 deaths People from Bentonia, Mississippi American blues singers American blues guitarists American male guitarists American blues pianists American male pianists Country blues singers Songwriters from Mississippi Blues musicians from Mississippi Blues revival musicians Country blues musicians Delta blues musicians Vanguard Records artists Deaths from cancer in Mississippi Paramount Records artists 20th-century American guitarists 20th-century American pianists Guitarists from Mississippi Mississippi Blues Trail African-American male songwriters African-American pianists African-American guitarists 20th-century African-American male singers

C_923c916a2fff44218bc884172fe469d5_1

Are there any other interesting aspects about this article?

Besides critics finding Skip James' product totally original, are there any other interesting aspects about this article?

Skip James

In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music - blues, spirituals, cover versions and original compositions - frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. CANNOTANSWER

The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result,

Nehemiah Curtis "Skip" James (June 9, 1902October 3, 1969) was an American Delta blues singer, guitarist, pianist and songwriter. His guitar playing is noted for its dark, minor-key sound, played in an open D-minor tuning with an intricate fingerpicking technique. James first recorded for Paramount Records in 1931, but these recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity. After a long absence from the public eye, James was rediscovered in 1964 by blues enthusiasts including John Fahey, helping further the blues and folk music revival of the 1950s and early 1960s. During this period, James appeared at folk and blues festivals, gave concerts around the country, and recorded several albums for various record labels. His songs have influenced generations of musicians and have been adapted by numerous artists. He has been hailed as "one of the seminal figures of the blues." Biography Early years James was born near Bentonia, Mississippi. His father was a bootlegger who reformed and became a preacher. As a youth, James heard local musicians, such as Henry Stuckey, from whom he learned to play the guitar, and the brothers Charlie and Jesse Sims. James began playing the organ in his teens. He worked on road construction and levee-building crews in Mississippi in the early 1920s and wrote what is perhaps his earliest song, "Illinois Blues", about his experiences as a laborer. He began playing the guitar in open D-minor tuning. 1920s and 1930s In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music – blues, spirituals, cover versions, and original compositions – frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. Rediscovery and legacy For the next thirty years, James made no known recordings and performed sporadically. He was virtually unknown to the general public until about 1960. In 1964, blues enthusiasts John Fahey, Bill Barth, and Henry Vestine found him in a hospital in Tunica, Mississippi. According to Calt, the "rediscovery" of both James and Son House at virtually the same time was the start of the blues revival in the United States. In July 1964, James and other rediscovered musicians appeared at the Newport Folk Festival. Several photographs by the blues promoter Dick Waterman captured this performance, James's first in over 30 years. James subsequently recorded for Takoma Records, Melodeon Records, and Vanguard Records and performed at various engagements until his death from cancer in 1969. More of James's recordings have been available since his death than were available during his lifetime. His 1931 recordings and several of his recordings and concerts from the 1960s have been reissued on numerous compact discs, in and out of print. His songs were not initially recorded as frequently as those of other rediscovered blues musicians. However, the British rock band Cream recorded "I'm So Glad", providing James with $10,000 in royalties, the only windfall of his career. Subsequently, Cream's adaptation was recorded by other groups. James' "22-20" inspired the name of the English group 22-20s. The British post-rock band Hope of the States released a song partially about the life of James, entitled "Nehemiah", which reached number 30 on the UK Singles Chart. Only 15 copies of James' original shellac 78 recordings are still in existence, and have become extremely sought after by collectors such as John Tefteller. In 2004, Wim Wenders directed the film The Soul of a Man (the second part of The Blues, a series produced by Martin Scorsese), focusing on the music of Blind Willie Johnson, J.B. Lenoir and James. Because James had not been filmed before the 1960s, Keith B. Brown played the part of the young James in the documentary. James' song "Hard Time Killing Floor Blues" was featured in the 2000 film O Brother, Where Art Thou? and included on the soundtrack album. James was the inspiration for Dion's 2007 blues album, Son of Skip James, which peaked at No. 4. James was honored with a marker on the Mississippi Blues Trail in Bentonia, his hometown. In 2020, James' song "Devil Got My Woman" was added to the Grammy Hall of Fame. Personality James was described as aloof and moody. The musicologist Dick Spottswood commented, "Skip James, you never knew. Skip could be sunshine, or thunder and lightning depending on his whim of the moment". Musical style James as guitarist James often played guitar with an open D-minor tuning (D–A–D–F–A–D), resulting in the "deep" sound of the 1931 recordings. He reportedly learned this tuning from his musical mentor, the unrecorded bluesman Henry Stuckey, who in turn was said to have acquired it from Bahamian soldiers during the First World War, despite the fact that his service card shows he did not serve overseas. Robert Johnson also recorded in this tuning, his "Hell Hound on My Trail" being based on James's "Devil Got My Woman." James's classically informed fingerpicking style was fast and clean, using the entire register of the guitar, with heavy, hypnotic bass lines. His style of playing had more in common with the Piedmont blues of the East Coast than with the Delta blues of his native Mississippi. The "Bentonia School" James is sometimes associated with the Bentonia School, which is either a subgenre of blues music or a style of playing it. In a 1994 biography of James, I'd Rather Be the Devil: Skip James and the Blues, Stephen Calt maintained that no style of blues originated in Bentonia and that the "Bentonia School" is simply a notion of later blues writers who overestimated the provinciality of Mississippi during the early 20th century, when railways linked small towns. Calt asserts these writers failed to see that in the case of Bentonia bluesman Jack Owens, "the 'tradition' he bore primarily consisted of musical scraps from James' table". Owens and other musicians who may have been contemporaries of James were not recorded until the revival of interest in blues music in the 1960s. Whether the work of these musicians constituted a "school", and whether James originated it or was a member of it himself, remain open questions. One of the last living links to the original Bentonia school is Jimmy "Duck" Holmes, the owner of the famous Blue Front Cafe in Bentonia, Mississippi. Holmes learned to play in this particular style directly from Henry Stuckey, who reportedly taught James and Owens himself. Accordingly, Duck is called the "last of the Bentonia Bluesmen." Discography Paramount 78-RPM records, 1931 Later recordings, 1964–1969 Despite poor health, James recorded several LPs from 1964 to 1969, mostly revisiting his 1931 sides, traditional music, and spirituals, but also including a handful of newly written blues meditating on his illness and convalescence. These five prolific years have not been thoroughly documented: recordings, outtakes, and interviews not released on James's LPs (which have been repeatedly cannibalized and reissued) are scattered among many compilations released by small labels. Previously unreleased performances continue to be found and released but have been left largely unexplained, sometimes hours' worth at a time. Original recordings and reissues are listed below. Greatest of the Delta Blues Singers (Melodeon, Biograph, 1964) She Lyin' (Adelphi, 1964; first released by Genes, 1996) Today! (Vanguard, 1966) Devil Got My Woman (Vanguard, 1968) I'm So Glad (Vanguard, 1978) Live: Boston, 1964 & Philadelphia, 1966 (Document, 1994) Skip's Piano Blues, 1964 (Genes, 1998) Blues from the Delta, with two previously unreleased recordings (Vanguard, 1998) The Complete Early Recordings of Skip James – 1930 (Yazoo, 1994) The Complete Bloomington, Indiana Concert, March 30, 1968 (Document, 1999) Skip's Guitar Blues, 1964(?), (Genes, 1999) Studio Sessions: Rare and Unreleased, 1967 (Vanguard, 2003) Hard Time Killing Floor Blues (Biograph, 2003†) Heroes of the Blues: The Very Best of Skip James (Shout!, 2003) Hard Time (Universe, 2003†) Cypress Grove Blues (2004) Hard Time Killin' Floor (Yazoo 2075, 2005) References External links Interview with Skip James' surviving cousin 1902 births 1969 deaths People from Bentonia, Mississippi American blues singers American blues guitarists American male guitarists American blues pianists American male pianists Country blues singers Songwriters from Mississippi Blues musicians from Mississippi Blues revival musicians Country blues musicians Delta blues musicians Vanguard Records artists Deaths from cancer in Mississippi Paramount Records artists 20th-century American guitarists 20th-century American pianists Guitarists from Mississippi Mississippi Blues Trail African-American male songwriters African-American pianists African-American guitarists 20th-century African-American male singers

C_923c916a2fff44218bc884172fe469d5_1

Did the sales eventually pick up?

Did Skip James' record sales eventually pick up?

Skip James

In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music - blues, spirituals, cover versions and original compositions - frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. CANNOTANSWER

he gave up performing the blues to become the choir director in his father's church.

Nehemiah Curtis "Skip" James (June 9, 1902October 3, 1969) was an American Delta blues singer, guitarist, pianist and songwriter. His guitar playing is noted for its dark, minor-key sound, played in an open D-minor tuning with an intricate fingerpicking technique. James first recorded for Paramount Records in 1931, but these recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity. After a long absence from the public eye, James was rediscovered in 1964 by blues enthusiasts including John Fahey, helping further the blues and folk music revival of the 1950s and early 1960s. During this period, James appeared at folk and blues festivals, gave concerts around the country, and recorded several albums for various record labels. His songs have influenced generations of musicians and have been adapted by numerous artists. He has been hailed as "one of the seminal figures of the blues." Biography Early years James was born near Bentonia, Mississippi. His father was a bootlegger who reformed and became a preacher. As a youth, James heard local musicians, such as Henry Stuckey, from whom he learned to play the guitar, and the brothers Charlie and Jesse Sims. James began playing the organ in his teens. He worked on road construction and levee-building crews in Mississippi in the early 1920s and wrote what is perhaps his earliest song, "Illinois Blues", about his experiences as a laborer. He began playing the guitar in open D-minor tuning. 1920s and 1930s In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music – blues, spirituals, cover versions, and original compositions – frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. Rediscovery and legacy For the next thirty years, James made no known recordings and performed sporadically. He was virtually unknown to the general public until about 1960. In 1964, blues enthusiasts John Fahey, Bill Barth, and Henry Vestine found him in a hospital in Tunica, Mississippi. According to Calt, the "rediscovery" of both James and Son House at virtually the same time was the start of the blues revival in the United States. In July 1964, James and other rediscovered musicians appeared at the Newport Folk Festival. Several photographs by the blues promoter Dick Waterman captured this performance, James's first in over 30 years. James subsequently recorded for Takoma Records, Melodeon Records, and Vanguard Records and performed at various engagements until his death from cancer in 1969. More of James's recordings have been available since his death than were available during his lifetime. His 1931 recordings and several of his recordings and concerts from the 1960s have been reissued on numerous compact discs, in and out of print. His songs were not initially recorded as frequently as those of other rediscovered blues musicians. However, the British rock band Cream recorded "I'm So Glad", providing James with $10,000 in royalties, the only windfall of his career. Subsequently, Cream's adaptation was recorded by other groups. James' "22-20" inspired the name of the English group 22-20s. The British post-rock band Hope of the States released a song partially about the life of James, entitled "Nehemiah", which reached number 30 on the UK Singles Chart. Only 15 copies of James' original shellac 78 recordings are still in existence, and have become extremely sought after by collectors such as John Tefteller. In 2004, Wim Wenders directed the film The Soul of a Man (the second part of The Blues, a series produced by Martin Scorsese), focusing on the music of Blind Willie Johnson, J.B. Lenoir and James. Because James had not been filmed before the 1960s, Keith B. Brown played the part of the young James in the documentary. James' song "Hard Time Killing Floor Blues" was featured in the 2000 film O Brother, Where Art Thou? and included on the soundtrack album. James was the inspiration for Dion's 2007 blues album, Son of Skip James, which peaked at No. 4. James was honored with a marker on the Mississippi Blues Trail in Bentonia, his hometown. In 2020, James' song "Devil Got My Woman" was added to the Grammy Hall of Fame. Personality James was described as aloof and moody. The musicologist Dick Spottswood commented, "Skip James, you never knew. Skip could be sunshine, or thunder and lightning depending on his whim of the moment". Musical style James as guitarist James often played guitar with an open D-minor tuning (D–A–D–F–A–D), resulting in the "deep" sound of the 1931 recordings. He reportedly learned this tuning from his musical mentor, the unrecorded bluesman Henry Stuckey, who in turn was said to have acquired it from Bahamian soldiers during the First World War, despite the fact that his service card shows he did not serve overseas. Robert Johnson also recorded in this tuning, his "Hell Hound on My Trail" being based on James's "Devil Got My Woman." James's classically informed fingerpicking style was fast and clean, using the entire register of the guitar, with heavy, hypnotic bass lines. His style of playing had more in common with the Piedmont blues of the East Coast than with the Delta blues of his native Mississippi. The "Bentonia School" James is sometimes associated with the Bentonia School, which is either a subgenre of blues music or a style of playing it. In a 1994 biography of James, I'd Rather Be the Devil: Skip James and the Blues, Stephen Calt maintained that no style of blues originated in Bentonia and that the "Bentonia School" is simply a notion of later blues writers who overestimated the provinciality of Mississippi during the early 20th century, when railways linked small towns. Calt asserts these writers failed to see that in the case of Bentonia bluesman Jack Owens, "the 'tradition' he bore primarily consisted of musical scraps from James' table". Owens and other musicians who may have been contemporaries of James were not recorded until the revival of interest in blues music in the 1960s. Whether the work of these musicians constituted a "school", and whether James originated it or was a member of it himself, remain open questions. One of the last living links to the original Bentonia school is Jimmy "Duck" Holmes, the owner of the famous Blue Front Cafe in Bentonia, Mississippi. Holmes learned to play in this particular style directly from Henry Stuckey, who reportedly taught James and Owens himself. Accordingly, Duck is called the "last of the Bentonia Bluesmen." Discography Paramount 78-RPM records, 1931 Later recordings, 1964–1969 Despite poor health, James recorded several LPs from 1964 to 1969, mostly revisiting his 1931 sides, traditional music, and spirituals, but also including a handful of newly written blues meditating on his illness and convalescence. These five prolific years have not been thoroughly documented: recordings, outtakes, and interviews not released on James's LPs (which have been repeatedly cannibalized and reissued) are scattered among many compilations released by small labels. Previously unreleased performances continue to be found and released but have been left largely unexplained, sometimes hours' worth at a time. Original recordings and reissues are listed below. Greatest of the Delta Blues Singers (Melodeon, Biograph, 1964) She Lyin' (Adelphi, 1964; first released by Genes, 1996) Today! (Vanguard, 1966) Devil Got My Woman (Vanguard, 1968) I'm So Glad (Vanguard, 1978) Live: Boston, 1964 & Philadelphia, 1966 (Document, 1994) Skip's Piano Blues, 1964 (Genes, 1998) Blues from the Delta, with two previously unreleased recordings (Vanguard, 1998) The Complete Early Recordings of Skip James – 1930 (Yazoo, 1994) The Complete Bloomington, Indiana Concert, March 30, 1968 (Document, 1999) Skip's Guitar Blues, 1964(?), (Genes, 1999) Studio Sessions: Rare and Unreleased, 1967 (Vanguard, 2003) Hard Time Killing Floor Blues (Biograph, 2003†) Heroes of the Blues: The Very Best of Skip James (Shout!, 2003) Hard Time (Universe, 2003†) Cypress Grove Blues (2004) Hard Time Killin' Floor (Yazoo 2075, 2005) References External links Interview with Skip James' surviving cousin 1902 births 1969 deaths People from Bentonia, Mississippi American blues singers American blues guitarists American male guitarists American blues pianists American male pianists Country blues singers Songwriters from Mississippi Blues musicians from Mississippi Blues revival musicians Country blues musicians Delta blues musicians Vanguard Records artists Deaths from cancer in Mississippi Paramount Records artists 20th-century American guitarists 20th-century American pianists Guitarists from Mississippi Mississippi Blues Trail African-American male songwriters African-American pianists African-American guitarists 20th-century African-American male singers

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Was he satisfied with that?

Was Skip James satisfied with being the choir director in his father's church?

Skip James

In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music - blues, spirituals, cover versions and original compositions - frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. CANNOTANSWER

James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown.

Nehemiah Curtis "Skip" James (June 9, 1902October 3, 1969) was an American Delta blues singer, guitarist, pianist and songwriter. His guitar playing is noted for its dark, minor-key sound, played in an open D-minor tuning with an intricate fingerpicking technique. James first recorded for Paramount Records in 1931, but these recordings sold poorly, having been released during the Great Depression, and he drifted into obscurity. After a long absence from the public eye, James was rediscovered in 1964 by blues enthusiasts including John Fahey, helping further the blues and folk music revival of the 1950s and early 1960s. During this period, James appeared at folk and blues festivals, gave concerts around the country, and recorded several albums for various record labels. His songs have influenced generations of musicians and have been adapted by numerous artists. He has been hailed as "one of the seminal figures of the blues." Biography Early years James was born near Bentonia, Mississippi. His father was a bootlegger who reformed and became a preacher. As a youth, James heard local musicians, such as Henry Stuckey, from whom he learned to play the guitar, and the brothers Charlie and Jesse Sims. James began playing the organ in his teens. He worked on road construction and levee-building crews in Mississippi in the early 1920s and wrote what is perhaps his earliest song, "Illinois Blues", about his experiences as a laborer. He began playing the guitar in open D-minor tuning. 1920s and 1930s In early 1931, James auditioned for the record shop owner and talent scout H. C. Speir in Jackson, Mississippi. Speir placed blues performers with various record labels, including Paramount Records. On the strength of this audition, James traveled to Grafton, Wisconsin, to record for Paramount. His 1931 records are considered idiosyncratic among prewar blues recordings and formed the basis of his reputation as a musician. As was typical of his era, James recorded various styles of music – blues, spirituals, cover versions, and original compositions – frequently blurring the lines between genres and sources. For example, "I'm So Glad" was derived from a 1927 song, "So Tired", by Art Sizemore and George A. Little, recorded in 1928 by Gene Austin and by Lonnie Johnson (Johnson's version was entitled "I'm So Tired of Livin' All Alone"). James's biographer Stephen Calt, echoing the opinion of several music critics, considered the finished product totally original, "one of the most extraordinary examples of fingerpicking found in guitar music". Several other recordings from the Grafton session, such as "Hard Time Killing Floor Blues", "Devil Got My Woman", "Jesus Is a Mighty Good Leader", and "22-20 Blues" (the basis of Robert Johnson's better-known "32-20 Blues"), have been similarly influential. Very few original copies of James's Paramount 78 rpm records have survived. The Great Depression struck just as James's recordings were hitting the market. Sales were poor as a result, and he gave up performing the blues to become the choir director in his father's church. James was later an ordained minister in Baptist and Methodist churches, but the extent of his involvement in religious activities is unknown. Rediscovery and legacy For the next thirty years, James made no known recordings and performed sporadically. He was virtually unknown to the general public until about 1960. In 1964, blues enthusiasts John Fahey, Bill Barth, and Henry Vestine found him in a hospital in Tunica, Mississippi. According to Calt, the "rediscovery" of both James and Son House at virtually the same time was the start of the blues revival in the United States. In July 1964, James and other rediscovered musicians appeared at the Newport Folk Festival. Several photographs by the blues promoter Dick Waterman captured this performance, James's first in over 30 years. James subsequently recorded for Takoma Records, Melodeon Records, and Vanguard Records and performed at various engagements until his death from cancer in 1969. More of James's recordings have been available since his death than were available during his lifetime. His 1931 recordings and several of his recordings and concerts from the 1960s have been reissued on numerous compact discs, in and out of print. His songs were not initially recorded as frequently as those of other rediscovered blues musicians. However, the British rock band Cream recorded "I'm So Glad", providing James with $10,000 in royalties, the only windfall of his career. Subsequently, Cream's adaptation was recorded by other groups. James' "22-20" inspired the name of the English group 22-20s. The British post-rock band Hope of the States released a song partially about the life of James, entitled "Nehemiah", which reached number 30 on the UK Singles Chart. Only 15 copies of James' original shellac 78 recordings are still in existence, and have become extremely sought after by collectors such as John Tefteller. In 2004, Wim Wenders directed the film The Soul of a Man (the second part of The Blues, a series produced by Martin Scorsese), focusing on the music of Blind Willie Johnson, J.B. Lenoir and James. Because James had not been filmed before the 1960s, Keith B. Brown played the part of the young James in the documentary. James' song "Hard Time Killing Floor Blues" was featured in the 2000 film O Brother, Where Art Thou? and included on the soundtrack album. James was the inspiration for Dion's 2007 blues album, Son of Skip James, which peaked at No. 4. James was honored with a marker on the Mississippi Blues Trail in Bentonia, his hometown. In 2020, James' song "Devil Got My Woman" was added to the Grammy Hall of Fame. Personality James was described as aloof and moody. The musicologist Dick Spottswood commented, "Skip James, you never knew. Skip could be sunshine, or thunder and lightning depending on his whim of the moment". Musical style James as guitarist James often played guitar with an open D-minor tuning (D–A–D–F–A–D), resulting in the "deep" sound of the 1931 recordings. He reportedly learned this tuning from his musical mentor, the unrecorded bluesman Henry Stuckey, who in turn was said to have acquired it from Bahamian soldiers during the First World War, despite the fact that his service card shows he did not serve overseas. Robert Johnson also recorded in this tuning, his "Hell Hound on My Trail" being based on James's "Devil Got My Woman." James's classically informed fingerpicking style was fast and clean, using the entire register of the guitar, with heavy, hypnotic bass lines. His style of playing had more in common with the Piedmont blues of the East Coast than with the Delta blues of his native Mississippi. The "Bentonia School" James is sometimes associated with the Bentonia School, which is either a subgenre of blues music or a style of playing it. In a 1994 biography of James, I'd Rather Be the Devil: Skip James and the Blues, Stephen Calt maintained that no style of blues originated in Bentonia and that the "Bentonia School" is simply a notion of later blues writers who overestimated the provinciality of Mississippi during the early 20th century, when railways linked small towns. Calt asserts these writers failed to see that in the case of Bentonia bluesman Jack Owens, "the 'tradition' he bore primarily consisted of musical scraps from James' table". Owens and other musicians who may have been contemporaries of James were not recorded until the revival of interest in blues music in the 1960s. Whether the work of these musicians constituted a "school", and whether James originated it or was a member of it himself, remain open questions. One of the last living links to the original Bentonia school is Jimmy "Duck" Holmes, the owner of the famous Blue Front Cafe in Bentonia, Mississippi. Holmes learned to play in this particular style directly from Henry Stuckey, who reportedly taught James and Owens himself. Accordingly, Duck is called the "last of the Bentonia Bluesmen." Discography Paramount 78-RPM records, 1931 Later recordings, 1964–1969 Despite poor health, James recorded several LPs from 1964 to 1969, mostly revisiting his 1931 sides, traditional music, and spirituals, but also including a handful of newly written blues meditating on his illness and convalescence. These five prolific years have not been thoroughly documented: recordings, outtakes, and interviews not released on James's LPs (which have been repeatedly cannibalized and reissued) are scattered among many compilations released by small labels. Previously unreleased performances continue to be found and released but have been left largely unexplained, sometimes hours' worth at a time. Original recordings and reissues are listed below. Greatest of the Delta Blues Singers (Melodeon, Biograph, 1964) She Lyin' (Adelphi, 1964; first released by Genes, 1996) Today! (Vanguard, 1966) Devil Got My Woman (Vanguard, 1968) I'm So Glad (Vanguard, 1978) Live: Boston, 1964 & Philadelphia, 1966 (Document, 1994) Skip's Piano Blues, 1964 (Genes, 1998) Blues from the Delta, with two previously unreleased recordings (Vanguard, 1998) The Complete Early Recordings of Skip James – 1930 (Yazoo, 1994) The Complete Bloomington, Indiana Concert, March 30, 1968 (Document, 1999) Skip's Guitar Blues, 1964(?), (Genes, 1999) Studio Sessions: Rare and Unreleased, 1967 (Vanguard, 2003) Hard Time Killing Floor Blues (Biograph, 2003†) Heroes of the Blues: The Very Best of Skip James (Shout!, 2003) Hard Time (Universe, 2003†) Cypress Grove Blues (2004) Hard Time Killin' Floor (Yazoo 2075, 2005) References External links Interview with Skip James' surviving cousin 1902 births 1969 deaths People from Bentonia, Mississippi American blues singers American blues guitarists American male guitarists American blues pianists American male pianists Country blues singers Songwriters from Mississippi Blues musicians from Mississippi Blues revival musicians Country blues musicians Delta blues musicians Vanguard Records artists Deaths from cancer in Mississippi Paramount Records artists 20th-century American guitarists 20th-century American pianists Guitarists from Mississippi Mississippi Blues Trail African-American male songwriters African-American pianists African-American guitarists 20th-century African-American male singers

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How did he start his political career?

How did B. H. Roberts start his political career?

B. H. Roberts

During the transitional period following 1890, the LDS Church disbanded its People's Party, "and the Saints were encouraged to align themselves with the national parties." Roberts became a fervent Democrat and was elected Davis County Delegate to the Utah State Constitutional Convention in 1894. Roberts proved a vocal member of the Convention, particularly in his opposition to women's suffrage. In 1895, Roberts was the losing Democratic candidate for the U.S. House of Representatives, and Roberts believed LDS Church leaders, who were predominantly Republicans, "had unfairly influenced the election by publicly reprimanding him and fellow Democrat Moses Thatcher for running for office without express permission of the Church." The LDS Church then issued the "Political Manifesto of 1895," which forbade church officers from running for public office without the approval of the church. Both Roberts and Thatcher refused to agree to the Political Manifesto and were suspended from their ecclesiastical offices. Roberts, believing such a requirement was a basic infringement of his civil rights, capitulated just hours before a deadline of March 24, 1896, signed the manifesto, wrote a letter of apology to the First Presidency, and was reinstated. Thatcher was more stubborn: he refused to sign, was expelled from the Quorum of the Twelve Apostles and barely evaded excommunication. In 1898, Roberts was elected as a Democrat to the 56th Congress, but the House of Representatives refused to seat him because of his practice of polygamy. The prolonged battle that ensued to keep his seat, which was not successful, left Roberts bitter. The governor of Utah had appointed Roberts a chaplain in the Utah National Guard; in 1917, when the United States declared war on Germany, Roberts volunteered to serve as a U.S. Army chaplain. The age limit of forty was waived--Roberts was then sixty--and Roberts became chaplain to the 145th Field Artillery, which arrived in France in September 1918 but did not see action before the Armistice was signed in November. CANNOTANSWER

Roberts became a fervent Democrat and was elected Davis County Delegate to the Utah State Constitutional Convention in 1894.

Brigham Henry Roberts (March 13, 1857 – September 27, 1933) was a historian, politician, and leader in The Church of Jesus Christ of Latter-day Saints (LDS Church). He edited the seven-volume History of the Church of Jesus Christ of Latter-day Saints and independently wrote the six-volume Comprehensive History of the Church of Jesus Christ of Latter-day Saints. Roberts also wrote Studies of the Book of Mormon—published posthumously—which discussed the validity of the Book of Mormon as an ancient record. Roberts was denied a seat as a member of United States Congress because of his practice of polygamy. Early life Roberts was born in Warrington, Lancashire, England, the son of Benjamin Roberts, an alcoholic blacksmith and ship plater, and Ann Everington, a seamstress. In the year of his birth both parents converted to the LDS Church. Benjamin Roberts then abandoned his family. Roberts later wrote, "My childhood was a nightmare; my boyhood a tragedy." Assisted by the Perpetual Emigrating Fund, B. H. Roberts and a sister left England in April 1866. In Nebraska they joined a wagon train and proceeded to walk—for much of the way barefoot—to Salt Lake City, where they were met by their mother, who had preceded them. In 1867, Roberts was baptized into the LDS Church by Seth Dustin, who two years later became his stepfather. Dustin eventually deserted his family, and "after several reappearances, he finally disappeared completely." Ann Dustin was granted a divorce in 1884. Upon coming to Utah Territory, Roberts settled in Bountiful, which he always from then on considered his home. Roberts became a miner and participated in the gambling and drinking typical of that time and place. (He was once disciplined by a Salt Lake bishop, who warned him that alcohol "would not only beat him to his knees but to his elbows and chin.") But Roberts eventually learned to read and, after a series of menial jobs, was apprenticed to a blacksmith while attending school. He then became a "voracious reader, devouring books of history, science, philosophy," especially the Book of Mormon and other Mormon religious texts. In 1878, Roberts married Sarah Louisa Smith, and in the same year he graduated first in his class from University of Deseret, the normal school precursor of the University of Utah. He and Sarah eventually had seven children. Church service After graduation (and the birth of his first child) Roberts was ordained a seventy in his local church branch and taught school to support his family. The LDS Church sent him on a mission to Iowa and Nebraska, "but because the cold weather was hard on his health, he was transferred to Tennessee in December of 1880." There he rose to prominence as the president of the Tennessee Conference of the Southern States Mission. On August 10, 1884, a mob in the small community of Cane Creek murdered two Mormon missionaries and two members of the Mormon congregation. (One of the latter had killed a member of the mob before he was in turn slain.) At some personal risk, Roberts disguised himself as a tramp and recovered the bodies of the two missionaries for their families in Utah Territory. During a brief return to Utah, Roberts took a second wife, Celia Dibble, by whom he had eight children. From 1889 to 1894, Celia was exiled in Manassa, Colorado, to protect her husband from prosecution for unlawful cohabitation. In December 1886, while serving as associate editor of the Salt Lake Herald, Roberts was arrested on the charge of unlawful cohabitation. He posted bond to appear in court the next day and that night left on a mission to England. In England, Roberts served as assistant editor of the LDS Church publication the Millennial Star and completed his first book, the much reprinted The Gospel: An Exposition of Its First Principles (1888). Returning to Salt Lake City in 1888, as full-time editor of The Contributor, he was chosen as one of the seven presidents of the First Council of the Seventy, the third-highest governing body in the LDS Church. "Tiring of evading federal authorities," Roberts surrendered in April 1889 and pleaded guilty to the charge of unlawful cohabitation. He was imprisoned in the Utah Territorial Prison for five months. Following his release, he moved his families to Colorado and married a third wife, Dr. Margaret Curtis Shipp, after church president Wilford Woodruff issued the 1890 Manifesto that prohibited solemnization of new plural marriages. (Roberts's third wife was seven years his senior and had obtained a degree in obstetrics. Roberts seemed to prefer Margaret's company, "and this created some trouble" with his other families—although Roberts continued to have children by his other wives. Roberts and Margaret had no children.) Roberts was pardoned in 1894 by U.S. President Grover Cleveland. He resigned as an editor of the Salt Lake Herald in 1896, giving his reason that the position that the paper had taken on the recent "Manifesto" was apt to place him in a false light. Published works (vol 2) See also Mormonism and evolution Unseated members of the United States Congress List of members-elect of the United States House of Representatives who never took their seats List of United States representatives expelled, censured, or reprimanded Notes References Madsen, Truman G. Defender of the Faith: The B. H. Roberts Story (Salt Lake City: Bookcraft, 1980.) . . . Further reading External links John W. Welch, "Roberts, Brigham Henry," American National Biography Online, February 2000. "Introduction" to John Sillito, ed., History's Apprentice: The Diaries of B. H. Roberts (Salt Lake City: Signature Books, 2004). B. H. Roberts collection, MSS 1430, L. Tom Perry Special Collections, Brigham Young University. 1857 births 1933 deaths 19th-century American novelists 19th-century Mormon missionaries 20th-century Mormon missionaries American Latter Day Saint writers American historians of religion American male non-fiction writers American male novelists American people convicted of bigamy Book of Mormon scholars Counselors in the General Presidency of the Young Men (organization) Deaths from diabetes Democratic Party members of the United States House of Representatives English Mormon missionaries English emigrants to the United States English general authorities (LDS Church) Latter Day Saints from Utah Military personnel from Utah Mission presidents (LDS Church) Mormon apologists Mormon missionaries in the United Kingdom Mormon missionaries in the United States Mormon pioneers Mormon studies scholars Mormon theologians Novelists from Utah Official historians of The Church of Jesus Christ of Latter-day Saints People from Bountiful, Utah People from Warrington Presidents of the Seventy (LDS Church) Recipients of American presidential pardons United States Army chaplains University of Utah alumni Utah Democrats World War I chaplains

C_b6428806ef5a403bb8c71fbe8ff94ca1_1

What did he do in Utah?

What did B. H. Roberts do in Utah in 1894?

B. H. Roberts

During the transitional period following 1890, the LDS Church disbanded its People's Party, "and the Saints were encouraged to align themselves with the national parties." Roberts became a fervent Democrat and was elected Davis County Delegate to the Utah State Constitutional Convention in 1894. Roberts proved a vocal member of the Convention, particularly in his opposition to women's suffrage. In 1895, Roberts was the losing Democratic candidate for the U.S. House of Representatives, and Roberts believed LDS Church leaders, who were predominantly Republicans, "had unfairly influenced the election by publicly reprimanding him and fellow Democrat Moses Thatcher for running for office without express permission of the Church." The LDS Church then issued the "Political Manifesto of 1895," which forbade church officers from running for public office without the approval of the church. Both Roberts and Thatcher refused to agree to the Political Manifesto and were suspended from their ecclesiastical offices. Roberts, believing such a requirement was a basic infringement of his civil rights, capitulated just hours before a deadline of March 24, 1896, signed the manifesto, wrote a letter of apology to the First Presidency, and was reinstated. Thatcher was more stubborn: he refused to sign, was expelled from the Quorum of the Twelve Apostles and barely evaded excommunication. In 1898, Roberts was elected as a Democrat to the 56th Congress, but the House of Representatives refused to seat him because of his practice of polygamy. The prolonged battle that ensued to keep his seat, which was not successful, left Roberts bitter. The governor of Utah had appointed Roberts a chaplain in the Utah National Guard; in 1917, when the United States declared war on Germany, Roberts volunteered to serve as a U.S. Army chaplain. The age limit of forty was waived--Roberts was then sixty--and Roberts became chaplain to the 145th Field Artillery, which arrived in France in September 1918 but did not see action before the Armistice was signed in November. CANNOTANSWER

Roberts proved a vocal member of the Convention, particularly in his opposition to women's suffrage.

Brigham Henry Roberts (March 13, 1857 – September 27, 1933) was a historian, politician, and leader in The Church of Jesus Christ of Latter-day Saints (LDS Church). He edited the seven-volume History of the Church of Jesus Christ of Latter-day Saints and independently wrote the six-volume Comprehensive History of the Church of Jesus Christ of Latter-day Saints. Roberts also wrote Studies of the Book of Mormon—published posthumously—which discussed the validity of the Book of Mormon as an ancient record. Roberts was denied a seat as a member of United States Congress because of his practice of polygamy. Early life Roberts was born in Warrington, Lancashire, England, the son of Benjamin Roberts, an alcoholic blacksmith and ship plater, and Ann Everington, a seamstress. In the year of his birth both parents converted to the LDS Church. Benjamin Roberts then abandoned his family. Roberts later wrote, "My childhood was a nightmare; my boyhood a tragedy." Assisted by the Perpetual Emigrating Fund, B. H. Roberts and a sister left England in April 1866. In Nebraska they joined a wagon train and proceeded to walk—for much of the way barefoot—to Salt Lake City, where they were met by their mother, who had preceded them. In 1867, Roberts was baptized into the LDS Church by Seth Dustin, who two years later became his stepfather. Dustin eventually deserted his family, and "after several reappearances, he finally disappeared completely." Ann Dustin was granted a divorce in 1884. Upon coming to Utah Territory, Roberts settled in Bountiful, which he always from then on considered his home. Roberts became a miner and participated in the gambling and drinking typical of that time and place. (He was once disciplined by a Salt Lake bishop, who warned him that alcohol "would not only beat him to his knees but to his elbows and chin.") But Roberts eventually learned to read and, after a series of menial jobs, was apprenticed to a blacksmith while attending school. He then became a "voracious reader, devouring books of history, science, philosophy," especially the Book of Mormon and other Mormon religious texts. In 1878, Roberts married Sarah Louisa Smith, and in the same year he graduated first in his class from University of Deseret, the normal school precursor of the University of Utah. He and Sarah eventually had seven children. Church service After graduation (and the birth of his first child) Roberts was ordained a seventy in his local church branch and taught school to support his family. The LDS Church sent him on a mission to Iowa and Nebraska, "but because the cold weather was hard on his health, he was transferred to Tennessee in December of 1880." There he rose to prominence as the president of the Tennessee Conference of the Southern States Mission. On August 10, 1884, a mob in the small community of Cane Creek murdered two Mormon missionaries and two members of the Mormon congregation. (One of the latter had killed a member of the mob before he was in turn slain.) At some personal risk, Roberts disguised himself as a tramp and recovered the bodies of the two missionaries for their families in Utah Territory. During a brief return to Utah, Roberts took a second wife, Celia Dibble, by whom he had eight children. From 1889 to 1894, Celia was exiled in Manassa, Colorado, to protect her husband from prosecution for unlawful cohabitation. In December 1886, while serving as associate editor of the Salt Lake Herald, Roberts was arrested on the charge of unlawful cohabitation. He posted bond to appear in court the next day and that night left on a mission to England. In England, Roberts served as assistant editor of the LDS Church publication the Millennial Star and completed his first book, the much reprinted The Gospel: An Exposition of Its First Principles (1888). Returning to Salt Lake City in 1888, as full-time editor of The Contributor, he was chosen as one of the seven presidents of the First Council of the Seventy, the third-highest governing body in the LDS Church. "Tiring of evading federal authorities," Roberts surrendered in April 1889 and pleaded guilty to the charge of unlawful cohabitation. He was imprisoned in the Utah Territorial Prison for five months. Following his release, he moved his families to Colorado and married a third wife, Dr. Margaret Curtis Shipp, after church president Wilford Woodruff issued the 1890 Manifesto that prohibited solemnization of new plural marriages. (Roberts's third wife was seven years his senior and had obtained a degree in obstetrics. Roberts seemed to prefer Margaret's company, "and this created some trouble" with his other families—although Roberts continued to have children by his other wives. Roberts and Margaret had no children.) Roberts was pardoned in 1894 by U.S. President Grover Cleveland. He resigned as an editor of the Salt Lake Herald in 1896, giving his reason that the position that the paper had taken on the recent "Manifesto" was apt to place him in a false light. Published works (vol 2) See also Mormonism and evolution Unseated members of the United States Congress List of members-elect of the United States House of Representatives who never took their seats List of United States representatives expelled, censured, or reprimanded Notes References Madsen, Truman G. Defender of the Faith: The B. H. Roberts Story (Salt Lake City: Bookcraft, 1980.) . . . Further reading External links John W. Welch, "Roberts, Brigham Henry," American National Biography Online, February 2000. "Introduction" to John Sillito, ed., History's Apprentice: The Diaries of B. H. Roberts (Salt Lake City: Signature Books, 2004). B. H. Roberts collection, MSS 1430, L. Tom Perry Special Collections, Brigham Young University. 1857 births 1933 deaths 19th-century American novelists 19th-century Mormon missionaries 20th-century Mormon missionaries American Latter Day Saint writers American historians of religion American male non-fiction writers American male novelists American people convicted of bigamy Book of Mormon scholars Counselors in the General Presidency of the Young Men (organization) Deaths from diabetes Democratic Party members of the United States House of Representatives English Mormon missionaries English emigrants to the United States English general authorities (LDS Church) Latter Day Saints from Utah Military personnel from Utah Mission presidents (LDS Church) Mormon apologists Mormon missionaries in the United Kingdom Mormon missionaries in the United States Mormon pioneers Mormon studies scholars Mormon theologians Novelists from Utah Official historians of The Church of Jesus Christ of Latter-day Saints People from Bountiful, Utah People from Warrington Presidents of the Seventy (LDS Church) Recipients of American presidential pardons United States Army chaplains University of Utah alumni Utah Democrats World War I chaplains

C_b6428806ef5a403bb8c71fbe8ff94ca1_1

What did he say about women's suffrage?

What did B. H. Roberts say about women's suffrage?

B. H. Roberts

During the transitional period following 1890, the LDS Church disbanded its People's Party, "and the Saints were encouraged to align themselves with the national parties." Roberts became a fervent Democrat and was elected Davis County Delegate to the Utah State Constitutional Convention in 1894. Roberts proved a vocal member of the Convention, particularly in his opposition to women's suffrage. In 1895, Roberts was the losing Democratic candidate for the U.S. House of Representatives, and Roberts believed LDS Church leaders, who were predominantly Republicans, "had unfairly influenced the election by publicly reprimanding him and fellow Democrat Moses Thatcher for running for office without express permission of the Church." The LDS Church then issued the "Political Manifesto of 1895," which forbade church officers from running for public office without the approval of the church. Both Roberts and Thatcher refused to agree to the Political Manifesto and were suspended from their ecclesiastical offices. Roberts, believing such a requirement was a basic infringement of his civil rights, capitulated just hours before a deadline of March 24, 1896, signed the manifesto, wrote a letter of apology to the First Presidency, and was reinstated. Thatcher was more stubborn: he refused to sign, was expelled from the Quorum of the Twelve Apostles and barely evaded excommunication. In 1898, Roberts was elected as a Democrat to the 56th Congress, but the House of Representatives refused to seat him because of his practice of polygamy. The prolonged battle that ensued to keep his seat, which was not successful, left Roberts bitter. The governor of Utah had appointed Roberts a chaplain in the Utah National Guard; in 1917, when the United States declared war on Germany, Roberts volunteered to serve as a U.S. Army chaplain. The age limit of forty was waived--Roberts was then sixty--and Roberts became chaplain to the 145th Field Artillery, which arrived in France in September 1918 but did not see action before the Armistice was signed in November. CANNOTANSWER

CANNOTANSWER

Brigham Henry Roberts (March 13, 1857 – September 27, 1933) was a historian, politician, and leader in The Church of Jesus Christ of Latter-day Saints (LDS Church). He edited the seven-volume History of the Church of Jesus Christ of Latter-day Saints and independently wrote the six-volume Comprehensive History of the Church of Jesus Christ of Latter-day Saints. Roberts also wrote Studies of the Book of Mormon—published posthumously—which discussed the validity of the Book of Mormon as an ancient record. Roberts was denied a seat as a member of United States Congress because of his practice of polygamy. Early life Roberts was born in Warrington, Lancashire, England, the son of Benjamin Roberts, an alcoholic blacksmith and ship plater, and Ann Everington, a seamstress. In the year of his birth both parents converted to the LDS Church. Benjamin Roberts then abandoned his family. Roberts later wrote, "My childhood was a nightmare; my boyhood a tragedy." Assisted by the Perpetual Emigrating Fund, B. H. Roberts and a sister left England in April 1866. In Nebraska they joined a wagon train and proceeded to walk—for much of the way barefoot—to Salt Lake City, where they were met by their mother, who had preceded them. In 1867, Roberts was baptized into the LDS Church by Seth Dustin, who two years later became his stepfather. Dustin eventually deserted his family, and "after several reappearances, he finally disappeared completely." Ann Dustin was granted a divorce in 1884. Upon coming to Utah Territory, Roberts settled in Bountiful, which he always from then on considered his home. Roberts became a miner and participated in the gambling and drinking typical of that time and place. (He was once disciplined by a Salt Lake bishop, who warned him that alcohol "would not only beat him to his knees but to his elbows and chin.") But Roberts eventually learned to read and, after a series of menial jobs, was apprenticed to a blacksmith while attending school. He then became a "voracious reader, devouring books of history, science, philosophy," especially the Book of Mormon and other Mormon religious texts. In 1878, Roberts married Sarah Louisa Smith, and in the same year he graduated first in his class from University of Deseret, the normal school precursor of the University of Utah. He and Sarah eventually had seven children. Church service After graduation (and the birth of his first child) Roberts was ordained a seventy in his local church branch and taught school to support his family. The LDS Church sent him on a mission to Iowa and Nebraska, "but because the cold weather was hard on his health, he was transferred to Tennessee in December of 1880." There he rose to prominence as the president of the Tennessee Conference of the Southern States Mission. On August 10, 1884, a mob in the small community of Cane Creek murdered two Mormon missionaries and two members of the Mormon congregation. (One of the latter had killed a member of the mob before he was in turn slain.) At some personal risk, Roberts disguised himself as a tramp and recovered the bodies of the two missionaries for their families in Utah Territory. During a brief return to Utah, Roberts took a second wife, Celia Dibble, by whom he had eight children. From 1889 to 1894, Celia was exiled in Manassa, Colorado, to protect her husband from prosecution for unlawful cohabitation. In December 1886, while serving as associate editor of the Salt Lake Herald, Roberts was arrested on the charge of unlawful cohabitation. He posted bond to appear in court the next day and that night left on a mission to England. In England, Roberts served as assistant editor of the LDS Church publication the Millennial Star and completed his first book, the much reprinted The Gospel: An Exposition of Its First Principles (1888). Returning to Salt Lake City in 1888, as full-time editor of The Contributor, he was chosen as one of the seven presidents of the First Council of the Seventy, the third-highest governing body in the LDS Church. "Tiring of evading federal authorities," Roberts surrendered in April 1889 and pleaded guilty to the charge of unlawful cohabitation. He was imprisoned in the Utah Territorial Prison for five months. Following his release, he moved his families to Colorado and married a third wife, Dr. Margaret Curtis Shipp, after church president Wilford Woodruff issued the 1890 Manifesto that prohibited solemnization of new plural marriages. (Roberts's third wife was seven years his senior and had obtained a degree in obstetrics. Roberts seemed to prefer Margaret's company, "and this created some trouble" with his other families—although Roberts continued to have children by his other wives. Roberts and Margaret had no children.) Roberts was pardoned in 1894 by U.S. President Grover Cleveland. He resigned as an editor of the Salt Lake Herald in 1896, giving his reason that the position that the paper had taken on the recent "Manifesto" was apt to place him in a false light. Published works (vol 2) See also Mormonism and evolution Unseated members of the United States Congress List of members-elect of the United States House of Representatives who never took their seats List of United States representatives expelled, censured, or reprimanded Notes References Madsen, Truman G. Defender of the Faith: The B. H. Roberts Story (Salt Lake City: Bookcraft, 1980.) . . . Further reading External links John W. Welch, "Roberts, Brigham Henry," American National Biography Online, February 2000. "Introduction" to John Sillito, ed., History's Apprentice: The Diaries of B. H. Roberts (Salt Lake City: Signature Books, 2004). B. H. Roberts collection, MSS 1430, L. Tom Perry Special Collections, Brigham Young University. 1857 births 1933 deaths 19th-century American novelists 19th-century Mormon missionaries 20th-century Mormon missionaries American Latter Day Saint writers American historians of religion American male non-fiction writers American male novelists American people convicted of bigamy Book of Mormon scholars Counselors in the General Presidency of the Young Men (organization) Deaths from diabetes Democratic Party members of the United States House of Representatives English Mormon missionaries English emigrants to the United States English general authorities (LDS Church) Latter Day Saints from Utah Military personnel from Utah Mission presidents (LDS Church) Mormon apologists Mormon missionaries in the United Kingdom Mormon missionaries in the United States Mormon pioneers Mormon studies scholars Mormon theologians Novelists from Utah Official historians of The Church of Jesus Christ of Latter-day Saints People from Bountiful, Utah People from Warrington Presidents of the Seventy (LDS Church) Recipients of American presidential pardons United States Army chaplains University of Utah alumni Utah Democrats World War I chaplains

C_b6428806ef5a403bb8c71fbe8ff94ca1_1

What was his military career like?

What was B. H. Roberts' military career like?

B. H. Roberts

During the transitional period following 1890, the LDS Church disbanded its People's Party, "and the Saints were encouraged to align themselves with the national parties." Roberts became a fervent Democrat and was elected Davis County Delegate to the Utah State Constitutional Convention in 1894. Roberts proved a vocal member of the Convention, particularly in his opposition to women's suffrage. In 1895, Roberts was the losing Democratic candidate for the U.S. House of Representatives, and Roberts believed LDS Church leaders, who were predominantly Republicans, "had unfairly influenced the election by publicly reprimanding him and fellow Democrat Moses Thatcher for running for office without express permission of the Church." The LDS Church then issued the "Political Manifesto of 1895," which forbade church officers from running for public office without the approval of the church. Both Roberts and Thatcher refused to agree to the Political Manifesto and were suspended from their ecclesiastical offices. Roberts, believing such a requirement was a basic infringement of his civil rights, capitulated just hours before a deadline of March 24, 1896, signed the manifesto, wrote a letter of apology to the First Presidency, and was reinstated. Thatcher was more stubborn: he refused to sign, was expelled from the Quorum of the Twelve Apostles and barely evaded excommunication. In 1898, Roberts was elected as a Democrat to the 56th Congress, but the House of Representatives refused to seat him because of his practice of polygamy. The prolonged battle that ensued to keep his seat, which was not successful, left Roberts bitter. The governor of Utah had appointed Roberts a chaplain in the Utah National Guard; in 1917, when the United States declared war on Germany, Roberts volunteered to serve as a U.S. Army chaplain. The age limit of forty was waived--Roberts was then sixty--and Roberts became chaplain to the 145th Field Artillery, which arrived in France in September 1918 but did not see action before the Armistice was signed in November. CANNOTANSWER

in 1917, when the United States declared war on Germany, Roberts volunteered to serve as a U.S. Army chaplain.

Brigham Henry Roberts (March 13, 1857 – September 27, 1933) was a historian, politician, and leader in The Church of Jesus Christ of Latter-day Saints (LDS Church). He edited the seven-volume History of the Church of Jesus Christ of Latter-day Saints and independently wrote the six-volume Comprehensive History of the Church of Jesus Christ of Latter-day Saints. Roberts also wrote Studies of the Book of Mormon—published posthumously—which discussed the validity of the Book of Mormon as an ancient record. Roberts was denied a seat as a member of United States Congress because of his practice of polygamy. Early life Roberts was born in Warrington, Lancashire, England, the son of Benjamin Roberts, an alcoholic blacksmith and ship plater, and Ann Everington, a seamstress. In the year of his birth both parents converted to the LDS Church. Benjamin Roberts then abandoned his family. Roberts later wrote, "My childhood was a nightmare; my boyhood a tragedy." Assisted by the Perpetual Emigrating Fund, B. H. Roberts and a sister left England in April 1866. In Nebraska they joined a wagon train and proceeded to walk—for much of the way barefoot—to Salt Lake City, where they were met by their mother, who had preceded them. In 1867, Roberts was baptized into the LDS Church by Seth Dustin, who two years later became his stepfather. Dustin eventually deserted his family, and "after several reappearances, he finally disappeared completely." Ann Dustin was granted a divorce in 1884. Upon coming to Utah Territory, Roberts settled in Bountiful, which he always from then on considered his home. Roberts became a miner and participated in the gambling and drinking typical of that time and place. (He was once disciplined by a Salt Lake bishop, who warned him that alcohol "would not only beat him to his knees but to his elbows and chin.") But Roberts eventually learned to read and, after a series of menial jobs, was apprenticed to a blacksmith while attending school. He then became a "voracious reader, devouring books of history, science, philosophy," especially the Book of Mormon and other Mormon religious texts. In 1878, Roberts married Sarah Louisa Smith, and in the same year he graduated first in his class from University of Deseret, the normal school precursor of the University of Utah. He and Sarah eventually had seven children. Church service After graduation (and the birth of his first child) Roberts was ordained a seventy in his local church branch and taught school to support his family. The LDS Church sent him on a mission to Iowa and Nebraska, "but because the cold weather was hard on his health, he was transferred to Tennessee in December of 1880." There he rose to prominence as the president of the Tennessee Conference of the Southern States Mission. On August 10, 1884, a mob in the small community of Cane Creek murdered two Mormon missionaries and two members of the Mormon congregation. (One of the latter had killed a member of the mob before he was in turn slain.) At some personal risk, Roberts disguised himself as a tramp and recovered the bodies of the two missionaries for their families in Utah Territory. During a brief return to Utah, Roberts took a second wife, Celia Dibble, by whom he had eight children. From 1889 to 1894, Celia was exiled in Manassa, Colorado, to protect her husband from prosecution for unlawful cohabitation. In December 1886, while serving as associate editor of the Salt Lake Herald, Roberts was arrested on the charge of unlawful cohabitation. He posted bond to appear in court the next day and that night left on a mission to England. In England, Roberts served as assistant editor of the LDS Church publication the Millennial Star and completed his first book, the much reprinted The Gospel: An Exposition of Its First Principles (1888). Returning to Salt Lake City in 1888, as full-time editor of The Contributor, he was chosen as one of the seven presidents of the First Council of the Seventy, the third-highest governing body in the LDS Church. "Tiring of evading federal authorities," Roberts surrendered in April 1889 and pleaded guilty to the charge of unlawful cohabitation. He was imprisoned in the Utah Territorial Prison for five months. Following his release, he moved his families to Colorado and married a third wife, Dr. Margaret Curtis Shipp, after church president Wilford Woodruff issued the 1890 Manifesto that prohibited solemnization of new plural marriages. (Roberts's third wife was seven years his senior and had obtained a degree in obstetrics. Roberts seemed to prefer Margaret's company, "and this created some trouble" with his other families—although Roberts continued to have children by his other wives. Roberts and Margaret had no children.) Roberts was pardoned in 1894 by U.S. President Grover Cleveland. He resigned as an editor of the Salt Lake Herald in 1896, giving his reason that the position that the paper had taken on the recent "Manifesto" was apt to place him in a false light. Published works (vol 2) See also Mormonism and evolution Unseated members of the United States Congress List of members-elect of the United States House of Representatives who never took their seats List of United States representatives expelled, censured, or reprimanded Notes References Madsen, Truman G. Defender of the Faith: The B. H. Roberts Story (Salt Lake City: Bookcraft, 1980.) . . . Further reading External links John W. Welch, "Roberts, Brigham Henry," American National Biography Online, February 2000. "Introduction" to John Sillito, ed., History's Apprentice: The Diaries of B. H. Roberts (Salt Lake City: Signature Books, 2004). B. H. Roberts collection, MSS 1430, L. Tom Perry Special Collections, Brigham Young University. 1857 births 1933 deaths 19th-century American novelists 19th-century Mormon missionaries 20th-century Mormon missionaries American Latter Day Saint writers American historians of religion American male non-fiction writers American male novelists American people convicted of bigamy Book of Mormon scholars Counselors in the General Presidency of the Young Men (organization) Deaths from diabetes Democratic Party members of the United States House of Representatives English Mormon missionaries English emigrants to the United States English general authorities (LDS Church) Latter Day Saints from Utah Military personnel from Utah Mission presidents (LDS Church) Mormon apologists Mormon missionaries in the United Kingdom Mormon missionaries in the United States Mormon pioneers Mormon studies scholars Mormon theologians Novelists from Utah Official historians of The Church of Jesus Christ of Latter-day Saints People from Bountiful, Utah People from Warrington Presidents of the Seventy (LDS Church) Recipients of American presidential pardons United States Army chaplains University of Utah alumni Utah Democrats World War I chaplains

C_b6428806ef5a403bb8c71fbe8ff94ca1_1

Did he do anything other than being a chaplain in the army?

Did B. H. Roberts do anything other than being a chaplain in the army?

B. H. Roberts

During the transitional period following 1890, the LDS Church disbanded its People's Party, "and the Saints were encouraged to align themselves with the national parties." Roberts became a fervent Democrat and was elected Davis County Delegate to the Utah State Constitutional Convention in 1894. Roberts proved a vocal member of the Convention, particularly in his opposition to women's suffrage. In 1895, Roberts was the losing Democratic candidate for the U.S. House of Representatives, and Roberts believed LDS Church leaders, who were predominantly Republicans, "had unfairly influenced the election by publicly reprimanding him and fellow Democrat Moses Thatcher for running for office without express permission of the Church." The LDS Church then issued the "Political Manifesto of 1895," which forbade church officers from running for public office without the approval of the church. Both Roberts and Thatcher refused to agree to the Political Manifesto and were suspended from their ecclesiastical offices. Roberts, believing such a requirement was a basic infringement of his civil rights, capitulated just hours before a deadline of March 24, 1896, signed the manifesto, wrote a letter of apology to the First Presidency, and was reinstated. Thatcher was more stubborn: he refused to sign, was expelled from the Quorum of the Twelve Apostles and barely evaded excommunication. In 1898, Roberts was elected as a Democrat to the 56th Congress, but the House of Representatives refused to seat him because of his practice of polygamy. The prolonged battle that ensued to keep his seat, which was not successful, left Roberts bitter. The governor of Utah had appointed Roberts a chaplain in the Utah National Guard; in 1917, when the United States declared war on Germany, Roberts volunteered to serve as a U.S. Army chaplain. The age limit of forty was waived--Roberts was then sixty--and Roberts became chaplain to the 145th Field Artillery, which arrived in France in September 1918 but did not see action before the Armistice was signed in November. CANNOTANSWER

The governor of Utah had appointed Roberts a chaplain in the Utah National Guard;

Brigham Henry Roberts (March 13, 1857 – September 27, 1933) was a historian, politician, and leader in The Church of Jesus Christ of Latter-day Saints (LDS Church). He edited the seven-volume History of the Church of Jesus Christ of Latter-day Saints and independently wrote the six-volume Comprehensive History of the Church of Jesus Christ of Latter-day Saints. Roberts also wrote Studies of the Book of Mormon—published posthumously—which discussed the validity of the Book of Mormon as an ancient record. Roberts was denied a seat as a member of United States Congress because of his practice of polygamy. Early life Roberts was born in Warrington, Lancashire, England, the son of Benjamin Roberts, an alcoholic blacksmith and ship plater, and Ann Everington, a seamstress. In the year of his birth both parents converted to the LDS Church. Benjamin Roberts then abandoned his family. Roberts later wrote, "My childhood was a nightmare; my boyhood a tragedy." Assisted by the Perpetual Emigrating Fund, B. H. Roberts and a sister left England in April 1866. In Nebraska they joined a wagon train and proceeded to walk—for much of the way barefoot—to Salt Lake City, where they were met by their mother, who had preceded them. In 1867, Roberts was baptized into the LDS Church by Seth Dustin, who two years later became his stepfather. Dustin eventually deserted his family, and "after several reappearances, he finally disappeared completely." Ann Dustin was granted a divorce in 1884. Upon coming to Utah Territory, Roberts settled in Bountiful, which he always from then on considered his home. Roberts became a miner and participated in the gambling and drinking typical of that time and place. (He was once disciplined by a Salt Lake bishop, who warned him that alcohol "would not only beat him to his knees but to his elbows and chin.") But Roberts eventually learned to read and, after a series of menial jobs, was apprenticed to a blacksmith while attending school. He then became a "voracious reader, devouring books of history, science, philosophy," especially the Book of Mormon and other Mormon religious texts. In 1878, Roberts married Sarah Louisa Smith, and in the same year he graduated first in his class from University of Deseret, the normal school precursor of the University of Utah. He and Sarah eventually had seven children. Church service After graduation (and the birth of his first child) Roberts was ordained a seventy in his local church branch and taught school to support his family. The LDS Church sent him on a mission to Iowa and Nebraska, "but because the cold weather was hard on his health, he was transferred to Tennessee in December of 1880." There he rose to prominence as the president of the Tennessee Conference of the Southern States Mission. On August 10, 1884, a mob in the small community of Cane Creek murdered two Mormon missionaries and two members of the Mormon congregation. (One of the latter had killed a member of the mob before he was in turn slain.) At some personal risk, Roberts disguised himself as a tramp and recovered the bodies of the two missionaries for their families in Utah Territory. During a brief return to Utah, Roberts took a second wife, Celia Dibble, by whom he had eight children. From 1889 to 1894, Celia was exiled in Manassa, Colorado, to protect her husband from prosecution for unlawful cohabitation. In December 1886, while serving as associate editor of the Salt Lake Herald, Roberts was arrested on the charge of unlawful cohabitation. He posted bond to appear in court the next day and that night left on a mission to England. In England, Roberts served as assistant editor of the LDS Church publication the Millennial Star and completed his first book, the much reprinted The Gospel: An Exposition of Its First Principles (1888). Returning to Salt Lake City in 1888, as full-time editor of The Contributor, he was chosen as one of the seven presidents of the First Council of the Seventy, the third-highest governing body in the LDS Church. "Tiring of evading federal authorities," Roberts surrendered in April 1889 and pleaded guilty to the charge of unlawful cohabitation. He was imprisoned in the Utah Territorial Prison for five months. Following his release, he moved his families to Colorado and married a third wife, Dr. Margaret Curtis Shipp, after church president Wilford Woodruff issued the 1890 Manifesto that prohibited solemnization of new plural marriages. (Roberts's third wife was seven years his senior and had obtained a degree in obstetrics. Roberts seemed to prefer Margaret's company, "and this created some trouble" with his other families—although Roberts continued to have children by his other wives. Roberts and Margaret had no children.) Roberts was pardoned in 1894 by U.S. President Grover Cleveland. He resigned as an editor of the Salt Lake Herald in 1896, giving his reason that the position that the paper had taken on the recent "Manifesto" was apt to place him in a false light. Published works (vol 2) See also Mormonism and evolution Unseated members of the United States Congress List of members-elect of the United States House of Representatives who never took their seats List of United States representatives expelled, censured, or reprimanded Notes References Madsen, Truman G. Defender of the Faith: The B. H. Roberts Story (Salt Lake City: Bookcraft, 1980.) . . . Further reading External links John W. Welch, "Roberts, Brigham Henry," American National Biography Online, February 2000. "Introduction" to John Sillito, ed., History's Apprentice: The Diaries of B. H. Roberts (Salt Lake City: Signature Books, 2004). B. H. Roberts collection, MSS 1430, L. Tom Perry Special Collections, Brigham Young University. 1857 births 1933 deaths 19th-century American novelists 19th-century Mormon missionaries 20th-century Mormon missionaries American Latter Day Saint writers American historians of religion American male non-fiction writers American male novelists American people convicted of bigamy Book of Mormon scholars Counselors in the General Presidency of the Young Men (organization) Deaths from diabetes Democratic Party members of the United States House of Representatives English Mormon missionaries English emigrants to the United States English general authorities (LDS Church) Latter Day Saints from Utah Military personnel from Utah Mission presidents (LDS Church) Mormon apologists Mormon missionaries in the United Kingdom Mormon missionaries in the United States Mormon pioneers Mormon studies scholars Mormon theologians Novelists from Utah Official historians of The Church of Jesus Christ of Latter-day Saints People from Bountiful, Utah People from Warrington Presidents of the Seventy (LDS Church) Recipients of American presidential pardons United States Army chaplains University of Utah alumni Utah Democrats World War I chaplains

C_b6428806ef5a403bb8c71fbe8ff94ca1_1

Are there any other interesting aspects about this article?

Along with B. H. Roberts being appointed a chaplain in the Utah National Guard, are there any other interesting aspects about this article?

B. H. Roberts

During the transitional period following 1890, the LDS Church disbanded its People's Party, "and the Saints were encouraged to align themselves with the national parties." Roberts became a fervent Democrat and was elected Davis County Delegate to the Utah State Constitutional Convention in 1894. Roberts proved a vocal member of the Convention, particularly in his opposition to women's suffrage. In 1895, Roberts was the losing Democratic candidate for the U.S. House of Representatives, and Roberts believed LDS Church leaders, who were predominantly Republicans, "had unfairly influenced the election by publicly reprimanding him and fellow Democrat Moses Thatcher for running for office without express permission of the Church." The LDS Church then issued the "Political Manifesto of 1895," which forbade church officers from running for public office without the approval of the church. Both Roberts and Thatcher refused to agree to the Political Manifesto and were suspended from their ecclesiastical offices. Roberts, believing such a requirement was a basic infringement of his civil rights, capitulated just hours before a deadline of March 24, 1896, signed the manifesto, wrote a letter of apology to the First Presidency, and was reinstated. Thatcher was more stubborn: he refused to sign, was expelled from the Quorum of the Twelve Apostles and barely evaded excommunication. In 1898, Roberts was elected as a Democrat to the 56th Congress, but the House of Representatives refused to seat him because of his practice of polygamy. The prolonged battle that ensued to keep his seat, which was not successful, left Roberts bitter. The governor of Utah had appointed Roberts a chaplain in the Utah National Guard; in 1917, when the United States declared war on Germany, Roberts volunteered to serve as a U.S. Army chaplain. The age limit of forty was waived--Roberts was then sixty--and Roberts became chaplain to the 145th Field Artillery, which arrived in France in September 1918 but did not see action before the Armistice was signed in November. CANNOTANSWER

Roberts believed LDS Church leaders, who were predominantly Republicans, "had unfairly influenced the election

Brigham Henry Roberts (March 13, 1857 – September 27, 1933) was a historian, politician, and leader in The Church of Jesus Christ of Latter-day Saints (LDS Church). He edited the seven-volume History of the Church of Jesus Christ of Latter-day Saints and independently wrote the six-volume Comprehensive History of the Church of Jesus Christ of Latter-day Saints. Roberts also wrote Studies of the Book of Mormon—published posthumously—which discussed the validity of the Book of Mormon as an ancient record. Roberts was denied a seat as a member of United States Congress because of his practice of polygamy. Early life Roberts was born in Warrington, Lancashire, England, the son of Benjamin Roberts, an alcoholic blacksmith and ship plater, and Ann Everington, a seamstress. In the year of his birth both parents converted to the LDS Church. Benjamin Roberts then abandoned his family. Roberts later wrote, "My childhood was a nightmare; my boyhood a tragedy." Assisted by the Perpetual Emigrating Fund, B. H. Roberts and a sister left England in April 1866. In Nebraska they joined a wagon train and proceeded to walk—for much of the way barefoot—to Salt Lake City, where they were met by their mother, who had preceded them. In 1867, Roberts was baptized into the LDS Church by Seth Dustin, who two years later became his stepfather. Dustin eventually deserted his family, and "after several reappearances, he finally disappeared completely." Ann Dustin was granted a divorce in 1884. Upon coming to Utah Territory, Roberts settled in Bountiful, which he always from then on considered his home. Roberts became a miner and participated in the gambling and drinking typical of that time and place. (He was once disciplined by a Salt Lake bishop, who warned him that alcohol "would not only beat him to his knees but to his elbows and chin.") But Roberts eventually learned to read and, after a series of menial jobs, was apprenticed to a blacksmith while attending school. He then became a "voracious reader, devouring books of history, science, philosophy," especially the Book of Mormon and other Mormon religious texts. In 1878, Roberts married Sarah Louisa Smith, and in the same year he graduated first in his class from University of Deseret, the normal school precursor of the University of Utah. He and Sarah eventually had seven children. Church service After graduation (and the birth of his first child) Roberts was ordained a seventy in his local church branch and taught school to support his family. The LDS Church sent him on a mission to Iowa and Nebraska, "but because the cold weather was hard on his health, he was transferred to Tennessee in December of 1880." There he rose to prominence as the president of the Tennessee Conference of the Southern States Mission. On August 10, 1884, a mob in the small community of Cane Creek murdered two Mormon missionaries and two members of the Mormon congregation. (One of the latter had killed a member of the mob before he was in turn slain.) At some personal risk, Roberts disguised himself as a tramp and recovered the bodies of the two missionaries for their families in Utah Territory. During a brief return to Utah, Roberts took a second wife, Celia Dibble, by whom he had eight children. From 1889 to 1894, Celia was exiled in Manassa, Colorado, to protect her husband from prosecution for unlawful cohabitation. In December 1886, while serving as associate editor of the Salt Lake Herald, Roberts was arrested on the charge of unlawful cohabitation. He posted bond to appear in court the next day and that night left on a mission to England. In England, Roberts served as assistant editor of the LDS Church publication the Millennial Star and completed his first book, the much reprinted The Gospel: An Exposition of Its First Principles (1888). Returning to Salt Lake City in 1888, as full-time editor of The Contributor, he was chosen as one of the seven presidents of the First Council of the Seventy, the third-highest governing body in the LDS Church. "Tiring of evading federal authorities," Roberts surrendered in April 1889 and pleaded guilty to the charge of unlawful cohabitation. He was imprisoned in the Utah Territorial Prison for five months. Following his release, he moved his families to Colorado and married a third wife, Dr. Margaret Curtis Shipp, after church president Wilford Woodruff issued the 1890 Manifesto that prohibited solemnization of new plural marriages. (Roberts's third wife was seven years his senior and had obtained a degree in obstetrics. Roberts seemed to prefer Margaret's company, "and this created some trouble" with his other families—although Roberts continued to have children by his other wives. Roberts and Margaret had no children.) Roberts was pardoned in 1894 by U.S. President Grover Cleveland. He resigned as an editor of the Salt Lake Herald in 1896, giving his reason that the position that the paper had taken on the recent "Manifesto" was apt to place him in a false light. Published works (vol 2) See also Mormonism and evolution Unseated members of the United States Congress List of members-elect of the United States House of Representatives who never took their seats List of United States representatives expelled, censured, or reprimanded Notes References Madsen, Truman G. Defender of the Faith: The B. H. Roberts Story (Salt Lake City: Bookcraft, 1980.) . . . Further reading External links John W. Welch, "Roberts, Brigham Henry," American National Biography Online, February 2000. "Introduction" to John Sillito, ed., History's Apprentice: The Diaries of B. H. Roberts (Salt Lake City: Signature Books, 2004). B. H. Roberts collection, MSS 1430, L. Tom Perry Special Collections, Brigham Young University. 1857 births 1933 deaths 19th-century American novelists 19th-century Mormon missionaries 20th-century Mormon missionaries American Latter Day Saint writers American historians of religion American male non-fiction writers American male novelists American people convicted of bigamy Book of Mormon scholars Counselors in the General Presidency of the Young Men (organization) Deaths from diabetes Democratic Party members of the United States House of Representatives English Mormon missionaries English emigrants to the United States English general authorities (LDS Church) Latter Day Saints from Utah Military personnel from Utah Mission presidents (LDS Church) Mormon apologists Mormon missionaries in the United Kingdom Mormon missionaries in the United States Mormon pioneers Mormon studies scholars Mormon theologians Novelists from Utah Official historians of The Church of Jesus Christ of Latter-day Saints People from Bountiful, Utah People from Warrington Presidents of the Seventy (LDS Church) Recipients of American presidential pardons United States Army chaplains University of Utah alumni Utah Democrats World War I chaplains

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How did they unfairly influence the election?

How did the LDS Church leaders unfairly influence the election, according to B. H. Roberts?

B. H. Roberts

During the transitional period following 1890, the LDS Church disbanded its People's Party, "and the Saints were encouraged to align themselves with the national parties." Roberts became a fervent Democrat and was elected Davis County Delegate to the Utah State Constitutional Convention in 1894. Roberts proved a vocal member of the Convention, particularly in his opposition to women's suffrage. In 1895, Roberts was the losing Democratic candidate for the U.S. House of Representatives, and Roberts believed LDS Church leaders, who were predominantly Republicans, "had unfairly influenced the election by publicly reprimanding him and fellow Democrat Moses Thatcher for running for office without express permission of the Church." The LDS Church then issued the "Political Manifesto of 1895," which forbade church officers from running for public office without the approval of the church. Both Roberts and Thatcher refused to agree to the Political Manifesto and were suspended from their ecclesiastical offices. Roberts, believing such a requirement was a basic infringement of his civil rights, capitulated just hours before a deadline of March 24, 1896, signed the manifesto, wrote a letter of apology to the First Presidency, and was reinstated. Thatcher was more stubborn: he refused to sign, was expelled from the Quorum of the Twelve Apostles and barely evaded excommunication. In 1898, Roberts was elected as a Democrat to the 56th Congress, but the House of Representatives refused to seat him because of his practice of polygamy. The prolonged battle that ensued to keep his seat, which was not successful, left Roberts bitter. The governor of Utah had appointed Roberts a chaplain in the Utah National Guard; in 1917, when the United States declared war on Germany, Roberts volunteered to serve as a U.S. Army chaplain. The age limit of forty was waived--Roberts was then sixty--and Roberts became chaplain to the 145th Field Artillery, which arrived in France in September 1918 but did not see action before the Armistice was signed in November. CANNOTANSWER

by publicly reprimanding him and fellow Democrat Moses Thatcher for running for office without express permission of the Church.

Brigham Henry Roberts (March 13, 1857 – September 27, 1933) was a historian, politician, and leader in The Church of Jesus Christ of Latter-day Saints (LDS Church). He edited the seven-volume History of the Church of Jesus Christ of Latter-day Saints and independently wrote the six-volume Comprehensive History of the Church of Jesus Christ of Latter-day Saints. Roberts also wrote Studies of the Book of Mormon—published posthumously—which discussed the validity of the Book of Mormon as an ancient record. Roberts was denied a seat as a member of United States Congress because of his practice of polygamy. Early life Roberts was born in Warrington, Lancashire, England, the son of Benjamin Roberts, an alcoholic blacksmith and ship plater, and Ann Everington, a seamstress. In the year of his birth both parents converted to the LDS Church. Benjamin Roberts then abandoned his family. Roberts later wrote, "My childhood was a nightmare; my boyhood a tragedy." Assisted by the Perpetual Emigrating Fund, B. H. Roberts and a sister left England in April 1866. In Nebraska they joined a wagon train and proceeded to walk—for much of the way barefoot—to Salt Lake City, where they were met by their mother, who had preceded them. In 1867, Roberts was baptized into the LDS Church by Seth Dustin, who two years later became his stepfather. Dustin eventually deserted his family, and "after several reappearances, he finally disappeared completely." Ann Dustin was granted a divorce in 1884. Upon coming to Utah Territory, Roberts settled in Bountiful, which he always from then on considered his home. Roberts became a miner and participated in the gambling and drinking typical of that time and place. (He was once disciplined by a Salt Lake bishop, who warned him that alcohol "would not only beat him to his knees but to his elbows and chin.") But Roberts eventually learned to read and, after a series of menial jobs, was apprenticed to a blacksmith while attending school. He then became a "voracious reader, devouring books of history, science, philosophy," especially the Book of Mormon and other Mormon religious texts. In 1878, Roberts married Sarah Louisa Smith, and in the same year he graduated first in his class from University of Deseret, the normal school precursor of the University of Utah. He and Sarah eventually had seven children. Church service After graduation (and the birth of his first child) Roberts was ordained a seventy in his local church branch and taught school to support his family. The LDS Church sent him on a mission to Iowa and Nebraska, "but because the cold weather was hard on his health, he was transferred to Tennessee in December of 1880." There he rose to prominence as the president of the Tennessee Conference of the Southern States Mission. On August 10, 1884, a mob in the small community of Cane Creek murdered two Mormon missionaries and two members of the Mormon congregation. (One of the latter had killed a member of the mob before he was in turn slain.) At some personal risk, Roberts disguised himself as a tramp and recovered the bodies of the two missionaries for their families in Utah Territory. During a brief return to Utah, Roberts took a second wife, Celia Dibble, by whom he had eight children. From 1889 to 1894, Celia was exiled in Manassa, Colorado, to protect her husband from prosecution for unlawful cohabitation. In December 1886, while serving as associate editor of the Salt Lake Herald, Roberts was arrested on the charge of unlawful cohabitation. He posted bond to appear in court the next day and that night left on a mission to England. In England, Roberts served as assistant editor of the LDS Church publication the Millennial Star and completed his first book, the much reprinted The Gospel: An Exposition of Its First Principles (1888). Returning to Salt Lake City in 1888, as full-time editor of The Contributor, he was chosen as one of the seven presidents of the First Council of the Seventy, the third-highest governing body in the LDS Church. "Tiring of evading federal authorities," Roberts surrendered in April 1889 and pleaded guilty to the charge of unlawful cohabitation. He was imprisoned in the Utah Territorial Prison for five months. Following his release, he moved his families to Colorado and married a third wife, Dr. Margaret Curtis Shipp, after church president Wilford Woodruff issued the 1890 Manifesto that prohibited solemnization of new plural marriages. (Roberts's third wife was seven years his senior and had obtained a degree in obstetrics. Roberts seemed to prefer Margaret's company, "and this created some trouble" with his other families—although Roberts continued to have children by his other wives. Roberts and Margaret had no children.) Roberts was pardoned in 1894 by U.S. President Grover Cleveland. He resigned as an editor of the Salt Lake Herald in 1896, giving his reason that the position that the paper had taken on the recent "Manifesto" was apt to place him in a false light. Published works (vol 2) See also Mormonism and evolution Unseated members of the United States Congress List of members-elect of the United States House of Representatives who never took their seats List of United States representatives expelled, censured, or reprimanded Notes References Madsen, Truman G. Defender of the Faith: The B. H. Roberts Story (Salt Lake City: Bookcraft, 1980.) . . . Further reading External links John W. Welch, "Roberts, Brigham Henry," American National Biography Online, February 2000. "Introduction" to John Sillito, ed., History's Apprentice: The Diaries of B. H. Roberts (Salt Lake City: Signature Books, 2004). B. H. Roberts collection, MSS 1430, L. Tom Perry Special Collections, Brigham Young University. 1857 births 1933 deaths 19th-century American novelists 19th-century Mormon missionaries 20th-century Mormon missionaries American Latter Day Saint writers American historians of religion American male non-fiction writers American male novelists American people convicted of bigamy Book of Mormon scholars Counselors in the General Presidency of the Young Men (organization) Deaths from diabetes Democratic Party members of the United States House of Representatives English Mormon missionaries English emigrants to the United States English general authorities (LDS Church) Latter Day Saints from Utah Military personnel from Utah Mission presidents (LDS Church) Mormon apologists Mormon missionaries in the United Kingdom Mormon missionaries in the United States Mormon pioneers Mormon studies scholars Mormon theologians Novelists from Utah Official historians of The Church of Jesus Christ of Latter-day Saints People from Bountiful, Utah People from Warrington Presidents of the Seventy (LDS Church) Recipients of American presidential pardons United States Army chaplains University of Utah alumni Utah Democrats World War I chaplains

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Who is Isaac Babel?

Who is Isaac Babel?

Isaac Babel

Back in Odessa, Babel started to write the Odessa Tales, a series of short stories set in the Odessan ghetto of Moldavanka. At their core, the stories describe the life of Jewish gangsters, both before and after the October Revolution. Many of them directly feature the fictional mob boss Benya Krik, who remains one of the great anti-heroes of Russian literature. These stories were later used as the basis for the stage play Sunset, which centers on Benya Krik's self-appointed mission to right the wrongs of Moldavanka. First on his list is to rein in his alcoholic, womanizing father, Mendel. According to Nathalie Babel Brown, "Sunset premiered at the Baku Worker's Theatre on October 23, 1927 and played in Odessa, Kiev, and the celebrated Moscow Art Theatre. The reviews, however, were mixed. Some critics praised the play's 'powerful anti-bourgeois stance and its interesting 'fathers and sons' theme. But in Moscow, particularly, critics felt that the play's attitude toward the bourgeoisie was contradictory and weak. Sunset closed, and was dropped from the repertoire of the Moscow Art Theatre. However, Sunset continued to have admirers. In a 1928 letter to his White emigre father, Boris Pasternak wrote, "Yesterday, I read Sunset, a play by Babel, and almost for the first time in my life I found that Jewry, as an ethnic fact, was a phenomenon of positive, unproblematic importance and power... I should like you to read this remarkable play..." According to Pirozhkova, filmmaker Sergei Eisenstein was also an admirer of Sunset and often compared it to the writings of Emile Zola for, "illuminating capitalist relationships through the experience of a single family." Eisenstein was also quite critical of the Moscow Art Theatre, "for its weak staging of the play, particularly for failing to convey to the audience every single word of its unusually terse text." CANNOTANSWER

CANNOTANSWER

Isaac Emmanuilovich Babel (; – 27 January 1940) was a Russian writer, journalist, playwright, and literary translator. He is best known as the author of Red Cavalry and Odessa Stories, and has been acclaimed as "the greatest prose writer of Russian Jewry." Babel was arrested by the NKVD on 15 May 1939 on fabricated charges of terrorism and espionage, and executed on 27 January 1940. Early years Isaac Babel was born in the Moldavanka section of Odessa to Manus and Feyga Babel. Soon after his birth, the Babel family moved to the port city of Mykolaiv. They later returned to live in a more fashionable part of Odessa in 1906. Babel used Moldavanka as the setting for Odessa Stories and the play Sunset. Although Babel's short stories present his family as "destitute and muddle-headed", they were relatively well-off. According to his autobiographical statements, Babel's father, Manus, was an impoverished shopkeeper. Babel's daughter, Nathalie Babel Brown, stated that her father fabricated this and other biographical details in order to "present an appropriate past for a young Soviet writer who was not a member of the Communist Party." In fact, Babel's father was a dealer in farm implements and owned a large warehouse. In his teens, Babel hoped to get into the preparatory class of the Nicolas I Odessa Commercial School. However, he first had to overcome the Jewish quota. Despite the fact that Babel received passing grades, his place was given to another boy, whose parents had bribed school officials. As a result, he was schooled at home by private tutors. In addition to regular school subjects, Babel studied the Talmud and music. According to Cynthia Ozick, "Though he was at home in Yiddish and Hebrew, and was familiar with the traditional texts and their demanding commentaries, he added to these a lifelong fascination with Maupassant and Flaubert. His first stories were composed in fluent literary French. The breadth and scope of his social compass enabled him to see through the eyes of peasants, soldiers, priests, rabbis, children, artists, actors, women of all classes. He befriended whores, cabdrivers, jockeys; he knew what it was like to be penniless, to live on the edge and off the beaten track." His attempt to enroll at Odessa University was blocked for ethnic reasons. Babel then entered the Kyiv Institute of Finance and Business. There he met Yevgenia Borisovna Gronfein, daughter of a wealthy industrialist, whom he eventually married. Work Early writings In 1915, Babel graduated and moved to Petrograd, in defiance of laws restricting Jews to living within the Pale of Settlement. Babel was fluent in French, besides Russian, Ukrainian and Yiddish, and his earliest works were written in French. However, none of his stories in that language have survived. In St. Petersburg, Babel met Maxim Gorky, who published some of Babel's stories in his literary magazine Letopis (Летопись, "Chronicle"). Gorky advised the aspiring writer to gain more life experience; Babel wrote in his autobiography, "I owe everything to that meeting and still pronounce the name of Alexey Maksimovich Gorky with love and admiration." One of his most famous semi-autobiographical short stories, "The Story of My Dovecote" (История моей голубятни, Istoriya moey golubyatni), was dedicated to Gorky. There is very little information about Babel's whereabouts during and after the October Revolution. According to one of his stories, "The Road" ("Дорога", "Doroga"), he served on the Romanian front until early December 1917. In his autobiography, Babel says he worked as a translator for the Petrograd Cheka, likely in 1917. In March 1918 he worked in Petrograd as a reporter for Gorky's Menshevik newspaper, Novaya zhizn (Новая жизнь, "New Life"). Babel continued publishing there until Novaya zhizn was forcibly closed on Lenin's orders in July 1918. Babel later recalled, "My journalistic work gave me a lot, especially in the sense of material. I managed to amass an incredible number of facts, which proved to be an invaluable creative tool. I struck up friendships with morgue attendants, criminal investigators, and government clerks. Later, when I began writing fiction, I found myself always returning to these 'subjects', which were so close to me, in order to put character types, situations, and everyday life into perspective. Journalistic work is full of adventure." October's Withered Leaves During the Russian Civil War, which led to the Party's monopoly on the printed word, Babel worked for the publishing house of the Odessa Gubkom (regional CPSU Committee), in the food procurement unit (see his story "Ivan-and-Maria"), in the Narkompros (Commissariat of Education), and in a typographic printing office. After the end of the Civil War, Babel worked as a reporter for The Dawn of the Orient (Заря Востока) a Russian-language newspaper published in Tbilisi. In one of his articles, he expressed regret that Lenin's controversial New Economic Policy had not been more widely implemented. Babel married Yevgenia Gronfein on August 9, 1919, in Odessa. In 1929, their marriage produced a daughter, Nathalie Babel Brown, who grew up to become a scholar and editor of her father's life and work. By 1925, the Babels' marriage was souring. Yevgenia Babel, feeling betrayed by her husband's infidelities and motivated by her increasing hatred of communism, emigrated to France. Babel saw her several times during his visits to Paris. During this period, he also entered into a long-term romantic relationship with Tamara Kashirina. Together, they had a son, Emmanuil Babel, who was later adopted by his stepfather Vsevolod Ivanov. Emmanuil's name was changed to Mikhail Ivanov, and he later became a noted artist. After the final break with Tamara, Babel briefly attempted to reconcile with Yevgenia and they had their daughter Natalie in 1929. In 1932, Babel met a Siberian-born Gentile named Antonina Pirozhkova (1909–2010). In 1934, after Babel failed to convince his wife to return to Moscow, he and Antonina began living together. In 1939, their common law marriage produced a daughter, Lydia Babel. According to Pirozhkova, "Before I met Babel, I used to read a great deal, though without any particular direction. I read whatever I could get my hands on. Babel noticed this and told me, 'Reading that way will get you nowhere. You won't have time to read the books that are truly worthwhile. There are about a hundred books that every educated person needs to read. Sometime I'll try to make you a list of them.' And a few days later he brought me a list. There were ancient writers on it, Greek and Roman—Homer, Herodotus, Lucretius, Suetonius—and also all the classics of later European literature, starting with Erasmus, Rabelais, Cervantes, Swift, and Coster, and going on to 19th century writers such as Stendhal, Mérimée, and Flaubert." Red Cavalry In 1920, Babel was assigned to Komandarm (Army Commander) Semyon Budyonny's 1st Cavalry Army, witnessing a military campaign of the Polish-Soviet War of 1920. He documented the horrors of the war he witnessed in the 1920 Diary (Конармейский Дневник 1920 года, Konarmeyskiy Dnevnik 1920 Goda), which he later used to write Red Cavalry (Конармия, Konarmiya), a collection of short stories such as "Crossing the River Zbrucz" and "My First Goose". The horrific violence of Red Cavalry seemed to harshly contrast the gentle nature of Babel himself. Babel wrote: "Only by 1923 I have learned how to express my thoughts in a clear and not very lengthy way. Then I returned to writing." Several stories that were later included in Red Cavalry were published in Vladimir Mayakovsky's LEF ("ЛЕФ") magazine in 1924. Babel's honest description of the brutal realities of war, far from revolutionary propaganda, earned him some powerful enemies. According to recent research, Marshal Budyonny was infuriated by Babel's unvarnished descriptions of marauding Red Cossacks and demanded Babel's execution without success. However, Gorky's influence not only protected Babel but also helped to guarantee publication. In 1929 Red Cavalry was translated into English by J. Harland and later was translated into a number of other languages. Argentine author and essayist Jorge Luis Borges once wrote of Red Cavalry, The music of its style contrasts with the almost ineffable brutality of certain scenes. One of the stories—"Salt"—enjoys a glory seemingly reserved for poems and rarely attained by prose: many people know it by heart. Odessa Stories Back in Odessa, Babel started to write Odessa Stories, a series of short stories set in the Odessan ghetto of Moldavanka. Published individually between 1921 and 1924 and collected into a book in 1931, the stories describe the life of Jewish gangsters, both before and after the October Revolution. Many of them directly feature the fictional mob boss Benya Krik, loosely based on the historical figure Mishka Yaponchik. Benya Krik is one of the great anti-heroes of Russian literature. These stories were later used as the basis for the stage play Sunset, which centers on Benya Krik's self-appointed mission to right the wrongs of Moldavanka. First on his list is to rein in his alcoholic, womanizing father, Mendel. According to Nathalie Babel Brown, "Sunset premiered at the Baku Worker's Theatre on October 23, 1927 and played in Odessa, Kyiv, and the celebrated Moscow Art Theatre. The reviews, however, were mixed. Some critics praised the play's 'powerful anti-bourgeois stance and its interesting 'fathers and sons' theme. But in Moscow, particularly, critics felt that the play's attitude toward the bourgeoisie was contradictory and weak. Sunset closed, and was dropped from the repertoire of the Moscow Art Theatre. However, Sunset continued to have admirers. In a 1928 letter to his White emigre father, Boris Pasternak wrote, "Yesterday, I read Sunset, a play by Babel, and almost for the first time in my life I found that Jewry, as an ethnic fact, was a phenomenon of positive, unproblematic importance and power. ... I should like you to read this remarkable play..." According to Pirozhkova, filmmaker Sergei Eisenstein was also an admirer of Sunset and often compared it to the writings of Émile Zola for, "illuminating capitalist relationships through the experience of a single family." Eisenstein was also quite critical of the Moscow Art Theatre, "for its weak staging of the play, particularly for failing to convey to the audience every single word of its unusually terse text." Maria Babel's play Maria candidly depicts both political corruption, prosecution of the innocent, and black marketeering within Soviet society. Noting the play's implicit rejection of socialist realism, Maxim Gorky accused his friend of having a "Baudelairean predilection for rotting meat." Gorky further warned his friend that "political inferences" would be made "that will be personally harmful to you." According to Pirozhkova, "Once Babel went to the Moscow Art Theater when his play Mariya was being given its first reading, and when he returned home he told me that all the actresses had been impatient to find out what the leading female role was like and who would be cast in it. It turned out that there was no leading female character present on the stage in this play. Babel thought that the play had not come off well, but ... he was always critical of his own work." Although intended to be performed in 1935, the Maria'''s performance was cancelled by the NKVD during rehearsals. Despite its popularity in the West, Maria was not performed in Russia until after the dissolution of the Soviet Union. Carl Weber, a former disciple of Bertolt Brecht, directed Maria at Stanford University in 2004. According to Weber, "The play is very controversial. [It] shows the stories of both sides clashing with each other during the Russian Civil War—the Bolsheviks and the old society members—without making a judgment one way or another. Babel’s opinion on either side is very ambiguous, but he does make the statement that what happened after the Bolshevik Revolution may not have been the best thing for Russia." His life in 1930s In 1930, Babel travelled in Ukraine and witnessed the brutality of forced collectivisation and dekulakisation. Although he never made a public statement about this, he privately confided in Antonina, "The bounty of the past is gone—it is due to the famine in Ukraine and the destruction of the village across our land." As Stalin tightened his grip on the Soviet intelligentsia and decreed that all writers and artists must conform to socialist realism, Babel increasingly withdrew from public life. During the campaign against "Formalism", Babel was publicly denounced for low productivity. At the time, many other Soviet writers were terrified and frantically rewrote their past work to conform to Stalin's wishes. However, Babel was unimpressed and confided in his protégé, the writer Ilya Ehrenburg, "In six months time, they'll leave the formalists in peace and start some other campaign." At the first congress of the Union of Soviet Writers (1934), Babel noted ironically, that he was becoming "the master of a new literary genre, the genre of silence." American Max Eastman describes Babel's increasing reticence as an artist in a chapter called "The Silence of Isaac Babyel" in his 1934 book Artists in Uniform. However, according to Nathalie Babel Brown, his life was tolerable: "The young writer burst upon the literary scene and instantly became the rage in Moscow. The tradition in Russia being to worship poets and writers, Babel soon became one of the happy few, a group that included Soviet writers who enjoyed exceptional status and privileges in an otherwise impoverished and despotic country. In the late 1930s, he was given a villa in the writer's colony of Peredelkino, outside Moscow. No secret was ever made of his having a wife and daughter in Paris. At the same time, hardly anyone outside of Moscow knew of two other children he had fathered. As a matter of fact, Babel had many secrets, lived with many ambiguities and contradictions, and left many unanswered questions behind him." In 1932, after numerous requests, he was permitted to visit his estranged wife Yevgenia in Paris. While visiting his wife and their daughter Nathalie, Babel agonized over whether or not to return to Soviet Russia. In conversations and letters to friends, he expressed a longing of being "a free man," while also expressing fear at no longer being able to make a living solely through writing. On July 27, 1933, Babel wrote a letter to Yuri Annenkov, stating that he had been summoned to Moscow and was leaving immediately. Babel's common-law wife, Antonina Pirozhkova, recalled this era, "Babel remained in France for so long that it was rumored in Moscow that he was never returning. When I wrote to him about this, he wrote back saying, 'What can people, who do not know anything, possibly say to you, who knows everything?' Babel wrote from France almost daily. I accumulated many letters from him during his 11-month absence. When Babel was arrested in 1939, all of these letters were confiscated and never returned to me." After his return to the Soviet Union, Babel decided to move in with Pirozhkova, beginning a common law marriage which would ultimately produce a daughter, Lidya Babel. He also collaborated with Sergei Eisenstein on the film Bezhin Meadow, about Pavlik Morozov, a child informant for the Soviet secret police. Babel also worked on the screenplays for several other Stalinist propaganda films. According to Nathalie Babel Brown, "Babel came to Paris in the summer of 1935, as part of the delegation of Soviet writers to the International Congress of Writers for the Defense of Culture and Peace. He probably knew this would have been his last chance to remain in Europe. As he had done numerous times during the last ten years, he asked my mother to return with him to Moscow. Although he knew the general situation was bad, he nevertheless described to her the comfortable life that the family could have there together. It was the last opportunity my mother had to give a negative answer, and she never forgot it. Perhaps it helped her later on to be proven completely right in her fears and her total lack of confidence in the Soviet Union. My mother described to me these last conversations with my father many times." Arrest and execution On May 15, 1939, Antonina Pirozhkova was awakened by four NKVD agents pounding upon the door of their Moscow apartment. Although surprised, she agreed to accompany them to Babel's dacha in Peredelkino. Babel was then placed under arrest. According to Pirozhkova: "In the car, one of the men sat in back with Babel and me while the other one sat in front with the driver. 'The worst part of this is that my mother won't be getting my letters', and then he was silent for a long time. I could not say a single word. Babel asked the secret policeman sitting next to him, 'So I guess you don't get too much sleep, do you?' And he even laughed. As we approached Moscow, I said to Babel, 'I'll be waiting for you, it will be as if you've gone to Odessa... only there won't be any letters....' He answered, 'I ask you to see that the child not be made miserable.' "But I don't know what my destiny will be." At this point, the man sitting beside Babel said to me, "We have no claims whatsoever against you." We drove to the Lubyanka Prison and through the gates. The car stopped before the massive, closed door where two sentries stood guard. Babel kissed me hard and said, "Someday we'll see each other..." And without looking back, he got out of the car and went through that door. According to Nadezhda Mandelstam, Babel's arrest became the subject of an urban legend within the NKVD. NKVD agents, she explains, were fond of "telling stories about the risks they ran" in arresting "enemies of the people". Babel had, according to NKVD lore, "seriously wounded one of our men" while "resisting arrest". Mrs. Mandelstam contemptuously declared, "Whenever I hear such tales I think of the tiny hole in the skull of Isaac Babel, a cautious, clever man with a high forehead, who probably never once in his life held a pistol in his hands." According to Peter Constantine, from the day of his arrest, Isaac Babel "became a nonperson in the Soviet Union. His name was blotted out, removed from literary dictionaries and encyclopedias, and taken off school and university syllabi. He became unmentionable in any public venue. When the film director Mark Donskoi's famous Gorky trilogy premiered the following year, Babel, who had worked on the screenplay, had been removed from the credits." According to his file, "Case #419, Babel, I.E.", the writer was held at the Lubyanka and Butyrka Prisons for a total of eight months as a case was built against him for Trotskyism, terrorism, and spying for Austria and France. At his initial interrogations, "Babel began by adamantly denying any wrongdoing, but then after three days he suddenly 'confessed' to what his interrogator was suggesting and named many people as co-conspirators. In all likelihood, he was tortured, almost certainly beaten." His interrogators included Boris Rodos, who had a reputation as a particularly brutal torturer, even by the standards of the time, and Lev Schwartzmann, who tortured the renowned theatre director, Vsevolod Meyerhold. Among those he accused of conspiring with him were his close friends Sergei Eisenstein, Solomon Mikhoels, and Ilya Ehrenburg. Despite months of pleading and letters sent directly to Beria, Babel was denied access to his unpublished manuscripts. In October 1939, Babel was again summoned for interrogation and denied all his previous testimony. A statement was recorded, "I ask the inquiry to take into account that, though in prison, I committed a crime. I slandered several people." This led to further delays as the NKVD frantically attempted to salvage their cases against Mikhoels, Ehrenburg, and Eisenstein. On 16 January 1940, Beria presented Stalin with a list of 457 'enemies of the party and the soviet regime' who were in custody, with a recommendation that 346, including Isaac Babel should be shot. According to Babel's daughter, Nathalie Babel Brown, his trial took place on January 26, 1940, in one of Lavrenti Beria's private chambers. It lasted about twenty minutes. The sentence had been prepared in advance and without ambiguity: death by firing squad, to be carried out immediately. He was shot at 1.30 am on 27 January 1940. Babel's last recorded words in the proceedings were, 'I am innocent. I have never been a spy. I never allowed any action against the Soviet Union. I accused myself falsely. I was forced to make false accusations against myself and others... I am asking for only one thing—let me finish my work.' He was shot the next day and his body was thrown into a communal grave. All of this information was revealed in the early 1990s. According to Simon Sebag Montefiore, Babel's ashes were buried with those of Nikolai Yezhov and several other victims of the Great Purge in a common grave at the Donskoy Cemetery. After the dissolution of the Soviet Union, a plaque was placed there which reads, "Here lie buried the remains of the innocent, tortured, and executed victims of political repressions. May they never be forgotten." According to the early official Soviet version, Isaac Babel died in the Gulag on March 17, 1941. Peter Constantine, who translated Babel's complete writings into English, has described the writer's execution as "one of the great tragedies of 20th century literature." Rehabilitation On December 23, 1954, during the Khrushchev thaw, a typed half sheet of paper ended the official silence. It read, "The sentence of the military collegium dated 26 January 1940 concerning Babel, I.E., is revoked on the basis of newly discovered circumstances and the case against him is terminated in the absence of elements of a crime." Babel's works were once again widely published and praised. His public rehabilitation as a writer was initiated with the help of his friend and admirer Konstantin Paustovsky, and a volume of Babel's selected works was published in 1957 with a laudatory preface by Ilya Ehrenburg. New collections of selected works by Babel were published in 1966, 1989 and 1990. Still, certain "taboo" parts such as mentions of Trotsky were censored until the glasnost period shortly before the dissolution of the Soviet Union. The first collections of the complete works of Babel were prepared and published in Russia in 2002 and 2006. Lost writings After his rehabilitation, Antonina Pirozhkova spent almost five decades campaigning for the return of Babel's manuscripts. These included Babel's translations of Sholem Aleichem's writings from Yiddish into Russian, as well as several unpublished short stories and novellas. According to Pirozhkova, As Babel put it, he worked on Sholem Aleichem to "feed his soul." Other "food for the soul" came from writing new stories and the novella "Kolya Topuz." He told me, "I'm writing a novella in which the main character is a former Odessa gangster like Benia Krik. His name is Kolya Topuz and so far, at least, that's also the name of the novella. I want to show how this sort of man adapts to Soviet reality. Kolya Topuz works on a collective farm during collectivization, and then he goes to work in a Donbass coal mine. But since he has the mentality of a gangster, he's constantly breaking out of the limits of normal life, which leads to numerous funny situations." Babel spent a great deal of time writing, and he finished many works. Only his arrest prevented his new works from coming out." However, even requests by Ilya Ehrenburg and the Union of Soviet Writers produced no answers from the Soviet State. The truth was not revealed until the advent of Perestroika. According to Pirozhkova, "In 1987, when so much was changing in our country, I again made an official request that the KGB search for Babel's manuscripts in its underground storage areas. In response to my request, I was visited by two KGB agents who informed me that the manuscripts had been burned. 'And so you've come in person to avoid giving me a written response to my request, am I correct?' 'How could you think such a thing? We came here to commiserate. We understand how precious Babel's manuscripts would be.'" Legacy After her husband's return to Moscow in 1935, Yevgenia Gronfein Babel remained unaware of his other family with Antonina Pirozhkova. Based upon statements made by Ilya Ehrenburg, Yevgenia further believed that her husband was still alive and living in exile. In 1956, however, Ehrenburg told her of her husband's execution while visiting Paris. After also informing Mrs. Babel of her husband's daughter with Antonina Pirozhkova, Ehrenburg asked Yevgenia to sign a false statement attesting to a pre-war divorce from her husband. Enraged, Yevgenia Babel spat in Ehrenberg's face and then fainted. Her daughter, Nathalie Babel Brown, believes that Ehrenburg did this under orders from the KGB. With two potential contenders for the role of Babel's widow, the Soviet State clearly preferred Babel's common-law wife Antonina to his legal wife Yevgenia, who had emigrated to the West. Although she was too young to have many memories of her father, Nathalie Babel Brown went on to become one of the world's foremost scholars of his life and work. When W.W. Norton published Babel's Complete Works in 2002, Nathalie edited the volume and provided a foreword. She died in Washington, D.C. in 2005. Lydia Babel, the daughter of Isaac Babel and Antonina Pirozhkova, also emigrated to the United States and currently resides in Silver Spring, Maryland. Although Babel's play Maria was very popular at Western European colleges during the 1960s, it was not performed in Babel's homeland until 1994. The first English translation appeared in 1966 in a translation by Michael Glenny in Three Soviet Plays (Penguin) under the title "Marya". Marias American premiere, directed by Carl Weber, took place at Stanford University in 2004. Several American writers have valued Babel's writings. Hubert Selby has called Babel "the closest thing I have to a literary influence." James Salter has named Babel his favorite short-story writer. "He has the three essentials of greatness: style, structure, and authority." George Saunders, when asked for a literary influence said "There's a Russian writer named Isaac Babel that I love. I can drop in anywhere in his works, read a few pages, and go, Oh yeah, language. It's almost like if you were tuning a guitar and you heard a beautifully tuned one and you say, Yeah, that's what we want. We want something that perfect. When I read him, it recalibrates my ear. It reminds me of the difference between an OK sentence and a really masterful sentence. Babel does it for me." Memorial in Odessa A memorial to Isaac Babel was unveiled on the north-west corner of the intersection of (V)ulitsa Rishelyevskaya and (V)ulitsa Zhukovskogo in Odessa in early September 2011, and, in conjunction with the inauguration of the memorial, a commemorative reading of three of his stories held, with musical interludes from the works of Isaac Schwartz, in the Philharmonic Hall in (V)ulitsa Pushkinskaya on September 6, 2011. The city also has an already existing (V)ulitsa Babelya ("Babel Street") in the Moldavanka. BibliographyBooks Конармейский дневник 1920 года (written 1920, published 1990). 1920 Diary, trans. H. T. Willetts (1995, Yale University Press; ) Конармия (1926). Red Cavalry Закат (written 1926, performed 1927, published 1928). Sunset Benya Krik (1926, screenplay). Filmed in Ukraine and available on DVD from National Center for Jewish Film. Одесские рассказы (published individually 1921–1924, collected in 1931). Odessa Stories Мария, Maria, play (published 1935, not performed in USSR)Posthumous compilations Benya Krik, the Gangster and Other Stories, ed. Avrahm Yarmolinsky, with translations by Walter Morison, Bernard Guilbert Guerney and the editor (Schocken, 1948) The Collected Stories, trans. Walter Morison (1955) Lyubka the Cossack and Other Stories, trans. Andrew R. MacAndrew (1963) You Must Know Everything, Stories 1915-1937, trans. Max Hayward, ed. with notes by Nathalie Babel (Farrar, Straus and Giroux, 1966) The Forgotten Prose, ed. and trans. Nicholas Stroud (Ardis, 1978) Collected Stories, trans. David McDuff (Penguin, 1994) The Complete Works of Isaac Babel, trans. Peter Constantine, ed. Nathalie Babel, intro. Cynthia Ozick (Norton, 2002) Odessa Stories, trans. Boris Dralyuk (Pushkin Press, 2016) The Essential Fictions, trans. Val Vinokur (Northwestern University Press, 2017)Short stories' "Story of My Dovecote" (1925) "Crossing the Zbruch" (as "I. Babiel") (1926) In popular culture British writer Bernard Kops wrote a poem, and later a play, about Babel: "Whatever Happened to Isaac Babel?" Brazilian writer Rubem Fonseca wrote a novel about the search for a lost manuscript from Babel: "Vastas emoções e pensamentos imperfeitos" (1988). American author Travis Holland wrote his debut novel "The Archivist's Story” about an archivist, Pavel Dubrov, in Lubyanka Prison who has to authenticate a Babel manuscript. In the novel his meeting with Babel prompts him to save the story at great risk to himself. References Further reading Isaac Babel and Nathalie Babel Brown, Isaac Babel: The Lonely Years 1925-1939 : Unpublished Stories and Private Correspondence, David R Godine, 1995. Jerome Charyn, Savage Shorthand: The Life and Death of Isaac Babel, Random House, 2005. Antonina N. Pirozhkova, At His Side: The Last Years of Issac Babel, Steerforth Press, 1998. Vitaly Shentalinsky, The KGB's Literary Files, Harvill, 1995 Gregory Freidin, ed. The Enigma of Isaac Babel: Life, History, Context. Stanford University Press, 2009 Konstantin Paustovsky, "Reminiscences of Babel", 1962 Adrien Le Bihan, "Isaac Babel, l'écrivain condamné par Staline", 346 p., Perrin, Paris, 2015. Sam Sacks, "A Masterpiece Worth Revisiting" (review of Isaac Babel, Red Cavalry, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 219 pp.), The Wall Street Journal, 30 April 2015. Nicholas Lezard, “Criminally Good” (review of Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), The Guardian, 1 November 2016. Charles King, “You Want Him to Keep Talking” (review of Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), Times Literary Supplement, 29 March 2017. Gary Saul Morson, "The Horror, the Horror" (review of Isaac Babel, The Essential Fictions, edited and translated from the Russian by Val Vinokur, Northwestern University Press, 404 pp.; Isaac Babel, Red Cavalry, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 219 pp; and Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), The New York Review of Books, vol. LXV, no. 2 (8 February 2018), pp. 28, 30. External links Babel's Biography (PDF) by Gregory Freidin (A version of this essay in Critical Biography was published in European Writer of the 20th century [NY: Scribners, 1990]) Isaac Babel Workshop (2004) at Stanford University Includes the Bibliography page with Efraim Sicher's "Checklist of Works of Isaac Babel's Works and Criticism" (2008) Gregory Freidin's Isaac Babel Page at Stanford University Prose in original Russian language at lib.ru Tough Guys reading The Collected Stories of Isaac Babel by Tom Teicholz Konarmiya, Norman Davies describes Babel in Sarmatian Review, issue 3, 1995 review of The Complete Works of Isaac Babel in January 2007 issue of Jewish Currents'' Bibliography at BookRags (Isaac Babel's daughter and editor) Finding Babel Documentary film that profiles Isaac Babel's life and impact, with readings by Liev Schreiber 1894 births 1940 deaths Writers from Odessa People from Odessky Uyezd Jewish dramatists and playwrights Soviet short story writers 20th-century Russian short story writers Soviet dramatists and playwrights Male dramatists and playwrights Soviet male writers 20th-century male writers Soviet journalists Russian male journalists Russian male short story writers Russian crime fiction writers Organized crime novelists Soviet screenwriters Male screenwriters Jewish humorists Jewish theatre Jewish Russian writers Nonpersons in the Eastern Bloc Yiddish–Russian translators Executed writers Great Purge victims from Russia Jews executed by the Soviet Union Soviet rehabilitations 20th-century translators People of the Polish–Soviet War Russian war correspondents Burials at Donskoye Cemetery 20th-century Russian journalists

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What were the Odessa Tales?

What were the Odessa Tales?

Isaac Babel

Back in Odessa, Babel started to write the Odessa Tales, a series of short stories set in the Odessan ghetto of Moldavanka. At their core, the stories describe the life of Jewish gangsters, both before and after the October Revolution. Many of them directly feature the fictional mob boss Benya Krik, who remains one of the great anti-heroes of Russian literature. These stories were later used as the basis for the stage play Sunset, which centers on Benya Krik's self-appointed mission to right the wrongs of Moldavanka. First on his list is to rein in his alcoholic, womanizing father, Mendel. According to Nathalie Babel Brown, "Sunset premiered at the Baku Worker's Theatre on October 23, 1927 and played in Odessa, Kiev, and the celebrated Moscow Art Theatre. The reviews, however, were mixed. Some critics praised the play's 'powerful anti-bourgeois stance and its interesting 'fathers and sons' theme. But in Moscow, particularly, critics felt that the play's attitude toward the bourgeoisie was contradictory and weak. Sunset closed, and was dropped from the repertoire of the Moscow Art Theatre. However, Sunset continued to have admirers. In a 1928 letter to his White emigre father, Boris Pasternak wrote, "Yesterday, I read Sunset, a play by Babel, and almost for the first time in my life I found that Jewry, as an ethnic fact, was a phenomenon of positive, unproblematic importance and power... I should like you to read this remarkable play..." According to Pirozhkova, filmmaker Sergei Eisenstein was also an admirer of Sunset and often compared it to the writings of Emile Zola for, "illuminating capitalist relationships through the experience of a single family." Eisenstein was also quite critical of the Moscow Art Theatre, "for its weak staging of the play, particularly for failing to convey to the audience every single word of its unusually terse text." CANNOTANSWER

a series of short stories set in the Odessan ghetto of Moldavanka.

Isaac Emmanuilovich Babel (; – 27 January 1940) was a Russian writer, journalist, playwright, and literary translator. He is best known as the author of Red Cavalry and Odessa Stories, and has been acclaimed as "the greatest prose writer of Russian Jewry." Babel was arrested by the NKVD on 15 May 1939 on fabricated charges of terrorism and espionage, and executed on 27 January 1940. Early years Isaac Babel was born in the Moldavanka section of Odessa to Manus and Feyga Babel. Soon after his birth, the Babel family moved to the port city of Mykolaiv. They later returned to live in a more fashionable part of Odessa in 1906. Babel used Moldavanka as the setting for Odessa Stories and the play Sunset. Although Babel's short stories present his family as "destitute and muddle-headed", they were relatively well-off. According to his autobiographical statements, Babel's father, Manus, was an impoverished shopkeeper. Babel's daughter, Nathalie Babel Brown, stated that her father fabricated this and other biographical details in order to "present an appropriate past for a young Soviet writer who was not a member of the Communist Party." In fact, Babel's father was a dealer in farm implements and owned a large warehouse. In his teens, Babel hoped to get into the preparatory class of the Nicolas I Odessa Commercial School. However, he first had to overcome the Jewish quota. Despite the fact that Babel received passing grades, his place was given to another boy, whose parents had bribed school officials. As a result, he was schooled at home by private tutors. In addition to regular school subjects, Babel studied the Talmud and music. According to Cynthia Ozick, "Though he was at home in Yiddish and Hebrew, and was familiar with the traditional texts and their demanding commentaries, he added to these a lifelong fascination with Maupassant and Flaubert. His first stories were composed in fluent literary French. The breadth and scope of his social compass enabled him to see through the eyes of peasants, soldiers, priests, rabbis, children, artists, actors, women of all classes. He befriended whores, cabdrivers, jockeys; he knew what it was like to be penniless, to live on the edge and off the beaten track." His attempt to enroll at Odessa University was blocked for ethnic reasons. Babel then entered the Kyiv Institute of Finance and Business. There he met Yevgenia Borisovna Gronfein, daughter of a wealthy industrialist, whom he eventually married. Work Early writings In 1915, Babel graduated and moved to Petrograd, in defiance of laws restricting Jews to living within the Pale of Settlement. Babel was fluent in French, besides Russian, Ukrainian and Yiddish, and his earliest works were written in French. However, none of his stories in that language have survived. In St. Petersburg, Babel met Maxim Gorky, who published some of Babel's stories in his literary magazine Letopis (Летопись, "Chronicle"). Gorky advised the aspiring writer to gain more life experience; Babel wrote in his autobiography, "I owe everything to that meeting and still pronounce the name of Alexey Maksimovich Gorky with love and admiration." One of his most famous semi-autobiographical short stories, "The Story of My Dovecote" (История моей голубятни, Istoriya moey golubyatni), was dedicated to Gorky. There is very little information about Babel's whereabouts during and after the October Revolution. According to one of his stories, "The Road" ("Дорога", "Doroga"), he served on the Romanian front until early December 1917. In his autobiography, Babel says he worked as a translator for the Petrograd Cheka, likely in 1917. In March 1918 he worked in Petrograd as a reporter for Gorky's Menshevik newspaper, Novaya zhizn (Новая жизнь, "New Life"). Babel continued publishing there until Novaya zhizn was forcibly closed on Lenin's orders in July 1918. Babel later recalled, "My journalistic work gave me a lot, especially in the sense of material. I managed to amass an incredible number of facts, which proved to be an invaluable creative tool. I struck up friendships with morgue attendants, criminal investigators, and government clerks. Later, when I began writing fiction, I found myself always returning to these 'subjects', which were so close to me, in order to put character types, situations, and everyday life into perspective. Journalistic work is full of adventure." October's Withered Leaves During the Russian Civil War, which led to the Party's monopoly on the printed word, Babel worked for the publishing house of the Odessa Gubkom (regional CPSU Committee), in the food procurement unit (see his story "Ivan-and-Maria"), in the Narkompros (Commissariat of Education), and in a typographic printing office. After the end of the Civil War, Babel worked as a reporter for The Dawn of the Orient (Заря Востока) a Russian-language newspaper published in Tbilisi. In one of his articles, he expressed regret that Lenin's controversial New Economic Policy had not been more widely implemented. Babel married Yevgenia Gronfein on August 9, 1919, in Odessa. In 1929, their marriage produced a daughter, Nathalie Babel Brown, who grew up to become a scholar and editor of her father's life and work. By 1925, the Babels' marriage was souring. Yevgenia Babel, feeling betrayed by her husband's infidelities and motivated by her increasing hatred of communism, emigrated to France. Babel saw her several times during his visits to Paris. During this period, he also entered into a long-term romantic relationship with Tamara Kashirina. Together, they had a son, Emmanuil Babel, who was later adopted by his stepfather Vsevolod Ivanov. Emmanuil's name was changed to Mikhail Ivanov, and he later became a noted artist. After the final break with Tamara, Babel briefly attempted to reconcile with Yevgenia and they had their daughter Natalie in 1929. In 1932, Babel met a Siberian-born Gentile named Antonina Pirozhkova (1909–2010). In 1934, after Babel failed to convince his wife to return to Moscow, he and Antonina began living together. In 1939, their common law marriage produced a daughter, Lydia Babel. According to Pirozhkova, "Before I met Babel, I used to read a great deal, though without any particular direction. I read whatever I could get my hands on. Babel noticed this and told me, 'Reading that way will get you nowhere. You won't have time to read the books that are truly worthwhile. There are about a hundred books that every educated person needs to read. Sometime I'll try to make you a list of them.' And a few days later he brought me a list. There were ancient writers on it, Greek and Roman—Homer, Herodotus, Lucretius, Suetonius—and also all the classics of later European literature, starting with Erasmus, Rabelais, Cervantes, Swift, and Coster, and going on to 19th century writers such as Stendhal, Mérimée, and Flaubert." Red Cavalry In 1920, Babel was assigned to Komandarm (Army Commander) Semyon Budyonny's 1st Cavalry Army, witnessing a military campaign of the Polish-Soviet War of 1920. He documented the horrors of the war he witnessed in the 1920 Diary (Конармейский Дневник 1920 года, Konarmeyskiy Dnevnik 1920 Goda), which he later used to write Red Cavalry (Конармия, Konarmiya), a collection of short stories such as "Crossing the River Zbrucz" and "My First Goose". The horrific violence of Red Cavalry seemed to harshly contrast the gentle nature of Babel himself. Babel wrote: "Only by 1923 I have learned how to express my thoughts in a clear and not very lengthy way. Then I returned to writing." Several stories that were later included in Red Cavalry were published in Vladimir Mayakovsky's LEF ("ЛЕФ") magazine in 1924. Babel's honest description of the brutal realities of war, far from revolutionary propaganda, earned him some powerful enemies. According to recent research, Marshal Budyonny was infuriated by Babel's unvarnished descriptions of marauding Red Cossacks and demanded Babel's execution without success. However, Gorky's influence not only protected Babel but also helped to guarantee publication. In 1929 Red Cavalry was translated into English by J. Harland and later was translated into a number of other languages. Argentine author and essayist Jorge Luis Borges once wrote of Red Cavalry, The music of its style contrasts with the almost ineffable brutality of certain scenes. One of the stories—"Salt"—enjoys a glory seemingly reserved for poems and rarely attained by prose: many people know it by heart. Odessa Stories Back in Odessa, Babel started to write Odessa Stories, a series of short stories set in the Odessan ghetto of Moldavanka. Published individually between 1921 and 1924 and collected into a book in 1931, the stories describe the life of Jewish gangsters, both before and after the October Revolution. Many of them directly feature the fictional mob boss Benya Krik, loosely based on the historical figure Mishka Yaponchik. Benya Krik is one of the great anti-heroes of Russian literature. These stories were later used as the basis for the stage play Sunset, which centers on Benya Krik's self-appointed mission to right the wrongs of Moldavanka. First on his list is to rein in his alcoholic, womanizing father, Mendel. According to Nathalie Babel Brown, "Sunset premiered at the Baku Worker's Theatre on October 23, 1927 and played in Odessa, Kyiv, and the celebrated Moscow Art Theatre. The reviews, however, were mixed. Some critics praised the play's 'powerful anti-bourgeois stance and its interesting 'fathers and sons' theme. But in Moscow, particularly, critics felt that the play's attitude toward the bourgeoisie was contradictory and weak. Sunset closed, and was dropped from the repertoire of the Moscow Art Theatre. However, Sunset continued to have admirers. In a 1928 letter to his White emigre father, Boris Pasternak wrote, "Yesterday, I read Sunset, a play by Babel, and almost for the first time in my life I found that Jewry, as an ethnic fact, was a phenomenon of positive, unproblematic importance and power. ... I should like you to read this remarkable play..." According to Pirozhkova, filmmaker Sergei Eisenstein was also an admirer of Sunset and often compared it to the writings of Émile Zola for, "illuminating capitalist relationships through the experience of a single family." Eisenstein was also quite critical of the Moscow Art Theatre, "for its weak staging of the play, particularly for failing to convey to the audience every single word of its unusually terse text." Maria Babel's play Maria candidly depicts both political corruption, prosecution of the innocent, and black marketeering within Soviet society. Noting the play's implicit rejection of socialist realism, Maxim Gorky accused his friend of having a "Baudelairean predilection for rotting meat." Gorky further warned his friend that "political inferences" would be made "that will be personally harmful to you." According to Pirozhkova, "Once Babel went to the Moscow Art Theater when his play Mariya was being given its first reading, and when he returned home he told me that all the actresses had been impatient to find out what the leading female role was like and who would be cast in it. It turned out that there was no leading female character present on the stage in this play. Babel thought that the play had not come off well, but ... he was always critical of his own work." Although intended to be performed in 1935, the Maria'''s performance was cancelled by the NKVD during rehearsals. Despite its popularity in the West, Maria was not performed in Russia until after the dissolution of the Soviet Union. Carl Weber, a former disciple of Bertolt Brecht, directed Maria at Stanford University in 2004. According to Weber, "The play is very controversial. [It] shows the stories of both sides clashing with each other during the Russian Civil War—the Bolsheviks and the old society members—without making a judgment one way or another. Babel’s opinion on either side is very ambiguous, but he does make the statement that what happened after the Bolshevik Revolution may not have been the best thing for Russia." His life in 1930s In 1930, Babel travelled in Ukraine and witnessed the brutality of forced collectivisation and dekulakisation. Although he never made a public statement about this, he privately confided in Antonina, "The bounty of the past is gone—it is due to the famine in Ukraine and the destruction of the village across our land." As Stalin tightened his grip on the Soviet intelligentsia and decreed that all writers and artists must conform to socialist realism, Babel increasingly withdrew from public life. During the campaign against "Formalism", Babel was publicly denounced for low productivity. At the time, many other Soviet writers were terrified and frantically rewrote their past work to conform to Stalin's wishes. However, Babel was unimpressed and confided in his protégé, the writer Ilya Ehrenburg, "In six months time, they'll leave the formalists in peace and start some other campaign." At the first congress of the Union of Soviet Writers (1934), Babel noted ironically, that he was becoming "the master of a new literary genre, the genre of silence." American Max Eastman describes Babel's increasing reticence as an artist in a chapter called "The Silence of Isaac Babyel" in his 1934 book Artists in Uniform. However, according to Nathalie Babel Brown, his life was tolerable: "The young writer burst upon the literary scene and instantly became the rage in Moscow. The tradition in Russia being to worship poets and writers, Babel soon became one of the happy few, a group that included Soviet writers who enjoyed exceptional status and privileges in an otherwise impoverished and despotic country. In the late 1930s, he was given a villa in the writer's colony of Peredelkino, outside Moscow. No secret was ever made of his having a wife and daughter in Paris. At the same time, hardly anyone outside of Moscow knew of two other children he had fathered. As a matter of fact, Babel had many secrets, lived with many ambiguities and contradictions, and left many unanswered questions behind him." In 1932, after numerous requests, he was permitted to visit his estranged wife Yevgenia in Paris. While visiting his wife and their daughter Nathalie, Babel agonized over whether or not to return to Soviet Russia. In conversations and letters to friends, he expressed a longing of being "a free man," while also expressing fear at no longer being able to make a living solely through writing. On July 27, 1933, Babel wrote a letter to Yuri Annenkov, stating that he had been summoned to Moscow and was leaving immediately. Babel's common-law wife, Antonina Pirozhkova, recalled this era, "Babel remained in France for so long that it was rumored in Moscow that he was never returning. When I wrote to him about this, he wrote back saying, 'What can people, who do not know anything, possibly say to you, who knows everything?' Babel wrote from France almost daily. I accumulated many letters from him during his 11-month absence. When Babel was arrested in 1939, all of these letters were confiscated and never returned to me." After his return to the Soviet Union, Babel decided to move in with Pirozhkova, beginning a common law marriage which would ultimately produce a daughter, Lidya Babel. He also collaborated with Sergei Eisenstein on the film Bezhin Meadow, about Pavlik Morozov, a child informant for the Soviet secret police. Babel also worked on the screenplays for several other Stalinist propaganda films. According to Nathalie Babel Brown, "Babel came to Paris in the summer of 1935, as part of the delegation of Soviet writers to the International Congress of Writers for the Defense of Culture and Peace. He probably knew this would have been his last chance to remain in Europe. As he had done numerous times during the last ten years, he asked my mother to return with him to Moscow. Although he knew the general situation was bad, he nevertheless described to her the comfortable life that the family could have there together. It was the last opportunity my mother had to give a negative answer, and she never forgot it. Perhaps it helped her later on to be proven completely right in her fears and her total lack of confidence in the Soviet Union. My mother described to me these last conversations with my father many times." Arrest and execution On May 15, 1939, Antonina Pirozhkova was awakened by four NKVD agents pounding upon the door of their Moscow apartment. Although surprised, she agreed to accompany them to Babel's dacha in Peredelkino. Babel was then placed under arrest. According to Pirozhkova: "In the car, one of the men sat in back with Babel and me while the other one sat in front with the driver. 'The worst part of this is that my mother won't be getting my letters', and then he was silent for a long time. I could not say a single word. Babel asked the secret policeman sitting next to him, 'So I guess you don't get too much sleep, do you?' And he even laughed. As we approached Moscow, I said to Babel, 'I'll be waiting for you, it will be as if you've gone to Odessa... only there won't be any letters....' He answered, 'I ask you to see that the child not be made miserable.' "But I don't know what my destiny will be." At this point, the man sitting beside Babel said to me, "We have no claims whatsoever against you." We drove to the Lubyanka Prison and through the gates. The car stopped before the massive, closed door where two sentries stood guard. Babel kissed me hard and said, "Someday we'll see each other..." And without looking back, he got out of the car and went through that door. According to Nadezhda Mandelstam, Babel's arrest became the subject of an urban legend within the NKVD. NKVD agents, she explains, were fond of "telling stories about the risks they ran" in arresting "enemies of the people". Babel had, according to NKVD lore, "seriously wounded one of our men" while "resisting arrest". Mrs. Mandelstam contemptuously declared, "Whenever I hear such tales I think of the tiny hole in the skull of Isaac Babel, a cautious, clever man with a high forehead, who probably never once in his life held a pistol in his hands." According to Peter Constantine, from the day of his arrest, Isaac Babel "became a nonperson in the Soviet Union. His name was blotted out, removed from literary dictionaries and encyclopedias, and taken off school and university syllabi. He became unmentionable in any public venue. When the film director Mark Donskoi's famous Gorky trilogy premiered the following year, Babel, who had worked on the screenplay, had been removed from the credits." According to his file, "Case #419, Babel, I.E.", the writer was held at the Lubyanka and Butyrka Prisons for a total of eight months as a case was built against him for Trotskyism, terrorism, and spying for Austria and France. At his initial interrogations, "Babel began by adamantly denying any wrongdoing, but then after three days he suddenly 'confessed' to what his interrogator was suggesting and named many people as co-conspirators. In all likelihood, he was tortured, almost certainly beaten." His interrogators included Boris Rodos, who had a reputation as a particularly brutal torturer, even by the standards of the time, and Lev Schwartzmann, who tortured the renowned theatre director, Vsevolod Meyerhold. Among those he accused of conspiring with him were his close friends Sergei Eisenstein, Solomon Mikhoels, and Ilya Ehrenburg. Despite months of pleading and letters sent directly to Beria, Babel was denied access to his unpublished manuscripts. In October 1939, Babel was again summoned for interrogation and denied all his previous testimony. A statement was recorded, "I ask the inquiry to take into account that, though in prison, I committed a crime. I slandered several people." This led to further delays as the NKVD frantically attempted to salvage their cases against Mikhoels, Ehrenburg, and Eisenstein. On 16 January 1940, Beria presented Stalin with a list of 457 'enemies of the party and the soviet regime' who were in custody, with a recommendation that 346, including Isaac Babel should be shot. According to Babel's daughter, Nathalie Babel Brown, his trial took place on January 26, 1940, in one of Lavrenti Beria's private chambers. It lasted about twenty minutes. The sentence had been prepared in advance and without ambiguity: death by firing squad, to be carried out immediately. He was shot at 1.30 am on 27 January 1940. Babel's last recorded words in the proceedings were, 'I am innocent. I have never been a spy. I never allowed any action against the Soviet Union. I accused myself falsely. I was forced to make false accusations against myself and others... I am asking for only one thing—let me finish my work.' He was shot the next day and his body was thrown into a communal grave. All of this information was revealed in the early 1990s. According to Simon Sebag Montefiore, Babel's ashes were buried with those of Nikolai Yezhov and several other victims of the Great Purge in a common grave at the Donskoy Cemetery. After the dissolution of the Soviet Union, a plaque was placed there which reads, "Here lie buried the remains of the innocent, tortured, and executed victims of political repressions. May they never be forgotten." According to the early official Soviet version, Isaac Babel died in the Gulag on March 17, 1941. Peter Constantine, who translated Babel's complete writings into English, has described the writer's execution as "one of the great tragedies of 20th century literature." Rehabilitation On December 23, 1954, during the Khrushchev thaw, a typed half sheet of paper ended the official silence. It read, "The sentence of the military collegium dated 26 January 1940 concerning Babel, I.E., is revoked on the basis of newly discovered circumstances and the case against him is terminated in the absence of elements of a crime." Babel's works were once again widely published and praised. His public rehabilitation as a writer was initiated with the help of his friend and admirer Konstantin Paustovsky, and a volume of Babel's selected works was published in 1957 with a laudatory preface by Ilya Ehrenburg. New collections of selected works by Babel were published in 1966, 1989 and 1990. Still, certain "taboo" parts such as mentions of Trotsky were censored until the glasnost period shortly before the dissolution of the Soviet Union. The first collections of the complete works of Babel were prepared and published in Russia in 2002 and 2006. Lost writings After his rehabilitation, Antonina Pirozhkova spent almost five decades campaigning for the return of Babel's manuscripts. These included Babel's translations of Sholem Aleichem's writings from Yiddish into Russian, as well as several unpublished short stories and novellas. According to Pirozhkova, As Babel put it, he worked on Sholem Aleichem to "feed his soul." Other "food for the soul" came from writing new stories and the novella "Kolya Topuz." He told me, "I'm writing a novella in which the main character is a former Odessa gangster like Benia Krik. His name is Kolya Topuz and so far, at least, that's also the name of the novella. I want to show how this sort of man adapts to Soviet reality. Kolya Topuz works on a collective farm during collectivization, and then he goes to work in a Donbass coal mine. But since he has the mentality of a gangster, he's constantly breaking out of the limits of normal life, which leads to numerous funny situations." Babel spent a great deal of time writing, and he finished many works. Only his arrest prevented his new works from coming out." However, even requests by Ilya Ehrenburg and the Union of Soviet Writers produced no answers from the Soviet State. The truth was not revealed until the advent of Perestroika. According to Pirozhkova, "In 1987, when so much was changing in our country, I again made an official request that the KGB search for Babel's manuscripts in its underground storage areas. In response to my request, I was visited by two KGB agents who informed me that the manuscripts had been burned. 'And so you've come in person to avoid giving me a written response to my request, am I correct?' 'How could you think such a thing? We came here to commiserate. We understand how precious Babel's manuscripts would be.'" Legacy After her husband's return to Moscow in 1935, Yevgenia Gronfein Babel remained unaware of his other family with Antonina Pirozhkova. Based upon statements made by Ilya Ehrenburg, Yevgenia further believed that her husband was still alive and living in exile. In 1956, however, Ehrenburg told her of her husband's execution while visiting Paris. After also informing Mrs. Babel of her husband's daughter with Antonina Pirozhkova, Ehrenburg asked Yevgenia to sign a false statement attesting to a pre-war divorce from her husband. Enraged, Yevgenia Babel spat in Ehrenberg's face and then fainted. Her daughter, Nathalie Babel Brown, believes that Ehrenburg did this under orders from the KGB. With two potential contenders for the role of Babel's widow, the Soviet State clearly preferred Babel's common-law wife Antonina to his legal wife Yevgenia, who had emigrated to the West. Although she was too young to have many memories of her father, Nathalie Babel Brown went on to become one of the world's foremost scholars of his life and work. When W.W. Norton published Babel's Complete Works in 2002, Nathalie edited the volume and provided a foreword. She died in Washington, D.C. in 2005. Lydia Babel, the daughter of Isaac Babel and Antonina Pirozhkova, also emigrated to the United States and currently resides in Silver Spring, Maryland. Although Babel's play Maria was very popular at Western European colleges during the 1960s, it was not performed in Babel's homeland until 1994. The first English translation appeared in 1966 in a translation by Michael Glenny in Three Soviet Plays (Penguin) under the title "Marya". Marias American premiere, directed by Carl Weber, took place at Stanford University in 2004. Several American writers have valued Babel's writings. Hubert Selby has called Babel "the closest thing I have to a literary influence." James Salter has named Babel his favorite short-story writer. "He has the three essentials of greatness: style, structure, and authority." George Saunders, when asked for a literary influence said "There's a Russian writer named Isaac Babel that I love. I can drop in anywhere in his works, read a few pages, and go, Oh yeah, language. It's almost like if you were tuning a guitar and you heard a beautifully tuned one and you say, Yeah, that's what we want. We want something that perfect. When I read him, it recalibrates my ear. It reminds me of the difference between an OK sentence and a really masterful sentence. Babel does it for me." Memorial in Odessa A memorial to Isaac Babel was unveiled on the north-west corner of the intersection of (V)ulitsa Rishelyevskaya and (V)ulitsa Zhukovskogo in Odessa in early September 2011, and, in conjunction with the inauguration of the memorial, a commemorative reading of three of his stories held, with musical interludes from the works of Isaac Schwartz, in the Philharmonic Hall in (V)ulitsa Pushkinskaya on September 6, 2011. The city also has an already existing (V)ulitsa Babelya ("Babel Street") in the Moldavanka. BibliographyBooks Конармейский дневник 1920 года (written 1920, published 1990). 1920 Diary, trans. H. T. Willetts (1995, Yale University Press; ) Конармия (1926). Red Cavalry Закат (written 1926, performed 1927, published 1928). Sunset Benya Krik (1926, screenplay). Filmed in Ukraine and available on DVD from National Center for Jewish Film. Одесские рассказы (published individually 1921–1924, collected in 1931). Odessa Stories Мария, Maria, play (published 1935, not performed in USSR)Posthumous compilations Benya Krik, the Gangster and Other Stories, ed. Avrahm Yarmolinsky, with translations by Walter Morison, Bernard Guilbert Guerney and the editor (Schocken, 1948) The Collected Stories, trans. Walter Morison (1955) Lyubka the Cossack and Other Stories, trans. Andrew R. MacAndrew (1963) You Must Know Everything, Stories 1915-1937, trans. Max Hayward, ed. with notes by Nathalie Babel (Farrar, Straus and Giroux, 1966) The Forgotten Prose, ed. and trans. Nicholas Stroud (Ardis, 1978) Collected Stories, trans. David McDuff (Penguin, 1994) The Complete Works of Isaac Babel, trans. Peter Constantine, ed. Nathalie Babel, intro. Cynthia Ozick (Norton, 2002) Odessa Stories, trans. Boris Dralyuk (Pushkin Press, 2016) The Essential Fictions, trans. Val Vinokur (Northwestern University Press, 2017)Short stories' "Story of My Dovecote" (1925) "Crossing the Zbruch" (as "I. Babiel") (1926) In popular culture British writer Bernard Kops wrote a poem, and later a play, about Babel: "Whatever Happened to Isaac Babel?" Brazilian writer Rubem Fonseca wrote a novel about the search for a lost manuscript from Babel: "Vastas emoções e pensamentos imperfeitos" (1988). American author Travis Holland wrote his debut novel "The Archivist's Story” about an archivist, Pavel Dubrov, in Lubyanka Prison who has to authenticate a Babel manuscript. In the novel his meeting with Babel prompts him to save the story at great risk to himself. References Further reading Isaac Babel and Nathalie Babel Brown, Isaac Babel: The Lonely Years 1925-1939 : Unpublished Stories and Private Correspondence, David R Godine, 1995. Jerome Charyn, Savage Shorthand: The Life and Death of Isaac Babel, Random House, 2005. Antonina N. Pirozhkova, At His Side: The Last Years of Issac Babel, Steerforth Press, 1998. Vitaly Shentalinsky, The KGB's Literary Files, Harvill, 1995 Gregory Freidin, ed. The Enigma of Isaac Babel: Life, History, Context. Stanford University Press, 2009 Konstantin Paustovsky, "Reminiscences of Babel", 1962 Adrien Le Bihan, "Isaac Babel, l'écrivain condamné par Staline", 346 p., Perrin, Paris, 2015. Sam Sacks, "A Masterpiece Worth Revisiting" (review of Isaac Babel, Red Cavalry, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 219 pp.), The Wall Street Journal, 30 April 2015. Nicholas Lezard, “Criminally Good” (review of Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), The Guardian, 1 November 2016. Charles King, “You Want Him to Keep Talking” (review of Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), Times Literary Supplement, 29 March 2017. Gary Saul Morson, "The Horror, the Horror" (review of Isaac Babel, The Essential Fictions, edited and translated from the Russian by Val Vinokur, Northwestern University Press, 404 pp.; Isaac Babel, Red Cavalry, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 219 pp; and Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), The New York Review of Books, vol. LXV, no. 2 (8 February 2018), pp. 28, 30. External links Babel's Biography (PDF) by Gregory Freidin (A version of this essay in Critical Biography was published in European Writer of the 20th century [NY: Scribners, 1990]) Isaac Babel Workshop (2004) at Stanford University Includes the Bibliography page with Efraim Sicher's "Checklist of Works of Isaac Babel's Works and Criticism" (2008) Gregory Freidin's Isaac Babel Page at Stanford University Prose in original Russian language at lib.ru Tough Guys reading The Collected Stories of Isaac Babel by Tom Teicholz Konarmiya, Norman Davies describes Babel in Sarmatian Review, issue 3, 1995 review of The Complete Works of Isaac Babel in January 2007 issue of Jewish Currents'' Bibliography at BookRags (Isaac Babel's daughter and editor) Finding Babel Documentary film that profiles Isaac Babel's life and impact, with readings by Liev Schreiber 1894 births 1940 deaths Writers from Odessa People from Odessky Uyezd Jewish dramatists and playwrights Soviet short story writers 20th-century Russian short story writers Soviet dramatists and playwrights Male dramatists and playwrights Soviet male writers 20th-century male writers Soviet journalists Russian male journalists Russian male short story writers Russian crime fiction writers Organized crime novelists Soviet screenwriters Male screenwriters Jewish humorists Jewish theatre Jewish Russian writers Nonpersons in the Eastern Bloc Yiddish–Russian translators Executed writers Great Purge victims from Russia Jews executed by the Soviet Union Soviet rehabilitations 20th-century translators People of the Polish–Soviet War Russian war correspondents Burials at Donskoye Cemetery 20th-century Russian journalists

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Was there a lot of violence at the time?

Was there a lot of violence during the time of the Odessa Tales?

Isaac Babel

Back in Odessa, Babel started to write the Odessa Tales, a series of short stories set in the Odessan ghetto of Moldavanka. At their core, the stories describe the life of Jewish gangsters, both before and after the October Revolution. Many of them directly feature the fictional mob boss Benya Krik, who remains one of the great anti-heroes of Russian literature. These stories were later used as the basis for the stage play Sunset, which centers on Benya Krik's self-appointed mission to right the wrongs of Moldavanka. First on his list is to rein in his alcoholic, womanizing father, Mendel. According to Nathalie Babel Brown, "Sunset premiered at the Baku Worker's Theatre on October 23, 1927 and played in Odessa, Kiev, and the celebrated Moscow Art Theatre. The reviews, however, were mixed. Some critics praised the play's 'powerful anti-bourgeois stance and its interesting 'fathers and sons' theme. But in Moscow, particularly, critics felt that the play's attitude toward the bourgeoisie was contradictory and weak. Sunset closed, and was dropped from the repertoire of the Moscow Art Theatre. However, Sunset continued to have admirers. In a 1928 letter to his White emigre father, Boris Pasternak wrote, "Yesterday, I read Sunset, a play by Babel, and almost for the first time in my life I found that Jewry, as an ethnic fact, was a phenomenon of positive, unproblematic importance and power... I should like you to read this remarkable play..." According to Pirozhkova, filmmaker Sergei Eisenstein was also an admirer of Sunset and often compared it to the writings of Emile Zola for, "illuminating capitalist relationships through the experience of a single family." Eisenstein was also quite critical of the Moscow Art Theatre, "for its weak staging of the play, particularly for failing to convey to the audience every single word of its unusually terse text." CANNOTANSWER

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Isaac Emmanuilovich Babel (; – 27 January 1940) was a Russian writer, journalist, playwright, and literary translator. He is best known as the author of Red Cavalry and Odessa Stories, and has been acclaimed as "the greatest prose writer of Russian Jewry." Babel was arrested by the NKVD on 15 May 1939 on fabricated charges of terrorism and espionage, and executed on 27 January 1940. Early years Isaac Babel was born in the Moldavanka section of Odessa to Manus and Feyga Babel. Soon after his birth, the Babel family moved to the port city of Mykolaiv. They later returned to live in a more fashionable part of Odessa in 1906. Babel used Moldavanka as the setting for Odessa Stories and the play Sunset. Although Babel's short stories present his family as "destitute and muddle-headed", they were relatively well-off. According to his autobiographical statements, Babel's father, Manus, was an impoverished shopkeeper. Babel's daughter, Nathalie Babel Brown, stated that her father fabricated this and other biographical details in order to "present an appropriate past for a young Soviet writer who was not a member of the Communist Party." In fact, Babel's father was a dealer in farm implements and owned a large warehouse. In his teens, Babel hoped to get into the preparatory class of the Nicolas I Odessa Commercial School. However, he first had to overcome the Jewish quota. Despite the fact that Babel received passing grades, his place was given to another boy, whose parents had bribed school officials. As a result, he was schooled at home by private tutors. In addition to regular school subjects, Babel studied the Talmud and music. According to Cynthia Ozick, "Though he was at home in Yiddish and Hebrew, and was familiar with the traditional texts and their demanding commentaries, he added to these a lifelong fascination with Maupassant and Flaubert. His first stories were composed in fluent literary French. The breadth and scope of his social compass enabled him to see through the eyes of peasants, soldiers, priests, rabbis, children, artists, actors, women of all classes. He befriended whores, cabdrivers, jockeys; he knew what it was like to be penniless, to live on the edge and off the beaten track." His attempt to enroll at Odessa University was blocked for ethnic reasons. Babel then entered the Kyiv Institute of Finance and Business. There he met Yevgenia Borisovna Gronfein, daughter of a wealthy industrialist, whom he eventually married. Work Early writings In 1915, Babel graduated and moved to Petrograd, in defiance of laws restricting Jews to living within the Pale of Settlement. Babel was fluent in French, besides Russian, Ukrainian and Yiddish, and his earliest works were written in French. However, none of his stories in that language have survived. In St. Petersburg, Babel met Maxim Gorky, who published some of Babel's stories in his literary magazine Letopis (Летопись, "Chronicle"). Gorky advised the aspiring writer to gain more life experience; Babel wrote in his autobiography, "I owe everything to that meeting and still pronounce the name of Alexey Maksimovich Gorky with love and admiration." One of his most famous semi-autobiographical short stories, "The Story of My Dovecote" (История моей голубятни, Istoriya moey golubyatni), was dedicated to Gorky. There is very little information about Babel's whereabouts during and after the October Revolution. According to one of his stories, "The Road" ("Дорога", "Doroga"), he served on the Romanian front until early December 1917. In his autobiography, Babel says he worked as a translator for the Petrograd Cheka, likely in 1917. In March 1918 he worked in Petrograd as a reporter for Gorky's Menshevik newspaper, Novaya zhizn (Новая жизнь, "New Life"). Babel continued publishing there until Novaya zhizn was forcibly closed on Lenin's orders in July 1918. Babel later recalled, "My journalistic work gave me a lot, especially in the sense of material. I managed to amass an incredible number of facts, which proved to be an invaluable creative tool. I struck up friendships with morgue attendants, criminal investigators, and government clerks. Later, when I began writing fiction, I found myself always returning to these 'subjects', which were so close to me, in order to put character types, situations, and everyday life into perspective. Journalistic work is full of adventure." October's Withered Leaves During the Russian Civil War, which led to the Party's monopoly on the printed word, Babel worked for the publishing house of the Odessa Gubkom (regional CPSU Committee), in the food procurement unit (see his story "Ivan-and-Maria"), in the Narkompros (Commissariat of Education), and in a typographic printing office. After the end of the Civil War, Babel worked as a reporter for The Dawn of the Orient (Заря Востока) a Russian-language newspaper published in Tbilisi. In one of his articles, he expressed regret that Lenin's controversial New Economic Policy had not been more widely implemented. Babel married Yevgenia Gronfein on August 9, 1919, in Odessa. In 1929, their marriage produced a daughter, Nathalie Babel Brown, who grew up to become a scholar and editor of her father's life and work. By 1925, the Babels' marriage was souring. Yevgenia Babel, feeling betrayed by her husband's infidelities and motivated by her increasing hatred of communism, emigrated to France. Babel saw her several times during his visits to Paris. During this period, he also entered into a long-term romantic relationship with Tamara Kashirina. Together, they had a son, Emmanuil Babel, who was later adopted by his stepfather Vsevolod Ivanov. Emmanuil's name was changed to Mikhail Ivanov, and he later became a noted artist. After the final break with Tamara, Babel briefly attempted to reconcile with Yevgenia and they had their daughter Natalie in 1929. In 1932, Babel met a Siberian-born Gentile named Antonina Pirozhkova (1909–2010). In 1934, after Babel failed to convince his wife to return to Moscow, he and Antonina began living together. In 1939, their common law marriage produced a daughter, Lydia Babel. According to Pirozhkova, "Before I met Babel, I used to read a great deal, though without any particular direction. I read whatever I could get my hands on. Babel noticed this and told me, 'Reading that way will get you nowhere. You won't have time to read the books that are truly worthwhile. There are about a hundred books that every educated person needs to read. Sometime I'll try to make you a list of them.' And a few days later he brought me a list. There were ancient writers on it, Greek and Roman—Homer, Herodotus, Lucretius, Suetonius—and also all the classics of later European literature, starting with Erasmus, Rabelais, Cervantes, Swift, and Coster, and going on to 19th century writers such as Stendhal, Mérimée, and Flaubert." Red Cavalry In 1920, Babel was assigned to Komandarm (Army Commander) Semyon Budyonny's 1st Cavalry Army, witnessing a military campaign of the Polish-Soviet War of 1920. He documented the horrors of the war he witnessed in the 1920 Diary (Конармейский Дневник 1920 года, Konarmeyskiy Dnevnik 1920 Goda), which he later used to write Red Cavalry (Конармия, Konarmiya), a collection of short stories such as "Crossing the River Zbrucz" and "My First Goose". The horrific violence of Red Cavalry seemed to harshly contrast the gentle nature of Babel himself. Babel wrote: "Only by 1923 I have learned how to express my thoughts in a clear and not very lengthy way. Then I returned to writing." Several stories that were later included in Red Cavalry were published in Vladimir Mayakovsky's LEF ("ЛЕФ") magazine in 1924. Babel's honest description of the brutal realities of war, far from revolutionary propaganda, earned him some powerful enemies. According to recent research, Marshal Budyonny was infuriated by Babel's unvarnished descriptions of marauding Red Cossacks and demanded Babel's execution without success. However, Gorky's influence not only protected Babel but also helped to guarantee publication. In 1929 Red Cavalry was translated into English by J. Harland and later was translated into a number of other languages. Argentine author and essayist Jorge Luis Borges once wrote of Red Cavalry, The music of its style contrasts with the almost ineffable brutality of certain scenes. One of the stories—"Salt"—enjoys a glory seemingly reserved for poems and rarely attained by prose: many people know it by heart. Odessa Stories Back in Odessa, Babel started to write Odessa Stories, a series of short stories set in the Odessan ghetto of Moldavanka. Published individually between 1921 and 1924 and collected into a book in 1931, the stories describe the life of Jewish gangsters, both before and after the October Revolution. Many of them directly feature the fictional mob boss Benya Krik, loosely based on the historical figure Mishka Yaponchik. Benya Krik is one of the great anti-heroes of Russian literature. These stories were later used as the basis for the stage play Sunset, which centers on Benya Krik's self-appointed mission to right the wrongs of Moldavanka. First on his list is to rein in his alcoholic, womanizing father, Mendel. According to Nathalie Babel Brown, "Sunset premiered at the Baku Worker's Theatre on October 23, 1927 and played in Odessa, Kyiv, and the celebrated Moscow Art Theatre. The reviews, however, were mixed. Some critics praised the play's 'powerful anti-bourgeois stance and its interesting 'fathers and sons' theme. But in Moscow, particularly, critics felt that the play's attitude toward the bourgeoisie was contradictory and weak. Sunset closed, and was dropped from the repertoire of the Moscow Art Theatre. However, Sunset continued to have admirers. In a 1928 letter to his White emigre father, Boris Pasternak wrote, "Yesterday, I read Sunset, a play by Babel, and almost for the first time in my life I found that Jewry, as an ethnic fact, was a phenomenon of positive, unproblematic importance and power. ... I should like you to read this remarkable play..." According to Pirozhkova, filmmaker Sergei Eisenstein was also an admirer of Sunset and often compared it to the writings of Émile Zola for, "illuminating capitalist relationships through the experience of a single family." Eisenstein was also quite critical of the Moscow Art Theatre, "for its weak staging of the play, particularly for failing to convey to the audience every single word of its unusually terse text." Maria Babel's play Maria candidly depicts both political corruption, prosecution of the innocent, and black marketeering within Soviet society. Noting the play's implicit rejection of socialist realism, Maxim Gorky accused his friend of having a "Baudelairean predilection for rotting meat." Gorky further warned his friend that "political inferences" would be made "that will be personally harmful to you." According to Pirozhkova, "Once Babel went to the Moscow Art Theater when his play Mariya was being given its first reading, and when he returned home he told me that all the actresses had been impatient to find out what the leading female role was like and who would be cast in it. It turned out that there was no leading female character present on the stage in this play. Babel thought that the play had not come off well, but ... he was always critical of his own work." Although intended to be performed in 1935, the Maria'''s performance was cancelled by the NKVD during rehearsals. Despite its popularity in the West, Maria was not performed in Russia until after the dissolution of the Soviet Union. Carl Weber, a former disciple of Bertolt Brecht, directed Maria at Stanford University in 2004. According to Weber, "The play is very controversial. [It] shows the stories of both sides clashing with each other during the Russian Civil War—the Bolsheviks and the old society members—without making a judgment one way or another. Babel’s opinion on either side is very ambiguous, but he does make the statement that what happened after the Bolshevik Revolution may not have been the best thing for Russia." His life in 1930s In 1930, Babel travelled in Ukraine and witnessed the brutality of forced collectivisation and dekulakisation. Although he never made a public statement about this, he privately confided in Antonina, "The bounty of the past is gone—it is due to the famine in Ukraine and the destruction of the village across our land." As Stalin tightened his grip on the Soviet intelligentsia and decreed that all writers and artists must conform to socialist realism, Babel increasingly withdrew from public life. During the campaign against "Formalism", Babel was publicly denounced for low productivity. At the time, many other Soviet writers were terrified and frantically rewrote their past work to conform to Stalin's wishes. However, Babel was unimpressed and confided in his protégé, the writer Ilya Ehrenburg, "In six months time, they'll leave the formalists in peace and start some other campaign." At the first congress of the Union of Soviet Writers (1934), Babel noted ironically, that he was becoming "the master of a new literary genre, the genre of silence." American Max Eastman describes Babel's increasing reticence as an artist in a chapter called "The Silence of Isaac Babyel" in his 1934 book Artists in Uniform. However, according to Nathalie Babel Brown, his life was tolerable: "The young writer burst upon the literary scene and instantly became the rage in Moscow. The tradition in Russia being to worship poets and writers, Babel soon became one of the happy few, a group that included Soviet writers who enjoyed exceptional status and privileges in an otherwise impoverished and despotic country. In the late 1930s, he was given a villa in the writer's colony of Peredelkino, outside Moscow. No secret was ever made of his having a wife and daughter in Paris. At the same time, hardly anyone outside of Moscow knew of two other children he had fathered. As a matter of fact, Babel had many secrets, lived with many ambiguities and contradictions, and left many unanswered questions behind him." In 1932, after numerous requests, he was permitted to visit his estranged wife Yevgenia in Paris. While visiting his wife and their daughter Nathalie, Babel agonized over whether or not to return to Soviet Russia. In conversations and letters to friends, he expressed a longing of being "a free man," while also expressing fear at no longer being able to make a living solely through writing. On July 27, 1933, Babel wrote a letter to Yuri Annenkov, stating that he had been summoned to Moscow and was leaving immediately. Babel's common-law wife, Antonina Pirozhkova, recalled this era, "Babel remained in France for so long that it was rumored in Moscow that he was never returning. When I wrote to him about this, he wrote back saying, 'What can people, who do not know anything, possibly say to you, who knows everything?' Babel wrote from France almost daily. I accumulated many letters from him during his 11-month absence. When Babel was arrested in 1939, all of these letters were confiscated and never returned to me." After his return to the Soviet Union, Babel decided to move in with Pirozhkova, beginning a common law marriage which would ultimately produce a daughter, Lidya Babel. He also collaborated with Sergei Eisenstein on the film Bezhin Meadow, about Pavlik Morozov, a child informant for the Soviet secret police. Babel also worked on the screenplays for several other Stalinist propaganda films. According to Nathalie Babel Brown, "Babel came to Paris in the summer of 1935, as part of the delegation of Soviet writers to the International Congress of Writers for the Defense of Culture and Peace. He probably knew this would have been his last chance to remain in Europe. As he had done numerous times during the last ten years, he asked my mother to return with him to Moscow. Although he knew the general situation was bad, he nevertheless described to her the comfortable life that the family could have there together. It was the last opportunity my mother had to give a negative answer, and she never forgot it. Perhaps it helped her later on to be proven completely right in her fears and her total lack of confidence in the Soviet Union. My mother described to me these last conversations with my father many times." Arrest and execution On May 15, 1939, Antonina Pirozhkova was awakened by four NKVD agents pounding upon the door of their Moscow apartment. Although surprised, she agreed to accompany them to Babel's dacha in Peredelkino. Babel was then placed under arrest. According to Pirozhkova: "In the car, one of the men sat in back with Babel and me while the other one sat in front with the driver. 'The worst part of this is that my mother won't be getting my letters', and then he was silent for a long time. I could not say a single word. Babel asked the secret policeman sitting next to him, 'So I guess you don't get too much sleep, do you?' And he even laughed. As we approached Moscow, I said to Babel, 'I'll be waiting for you, it will be as if you've gone to Odessa... only there won't be any letters....' He answered, 'I ask you to see that the child not be made miserable.' "But I don't know what my destiny will be." At this point, the man sitting beside Babel said to me, "We have no claims whatsoever against you." We drove to the Lubyanka Prison and through the gates. The car stopped before the massive, closed door where two sentries stood guard. Babel kissed me hard and said, "Someday we'll see each other..." And without looking back, he got out of the car and went through that door. According to Nadezhda Mandelstam, Babel's arrest became the subject of an urban legend within the NKVD. NKVD agents, she explains, were fond of "telling stories about the risks they ran" in arresting "enemies of the people". Babel had, according to NKVD lore, "seriously wounded one of our men" while "resisting arrest". Mrs. Mandelstam contemptuously declared, "Whenever I hear such tales I think of the tiny hole in the skull of Isaac Babel, a cautious, clever man with a high forehead, who probably never once in his life held a pistol in his hands." According to Peter Constantine, from the day of his arrest, Isaac Babel "became a nonperson in the Soviet Union. His name was blotted out, removed from literary dictionaries and encyclopedias, and taken off school and university syllabi. He became unmentionable in any public venue. When the film director Mark Donskoi's famous Gorky trilogy premiered the following year, Babel, who had worked on the screenplay, had been removed from the credits." According to his file, "Case #419, Babel, I.E.", the writer was held at the Lubyanka and Butyrka Prisons for a total of eight months as a case was built against him for Trotskyism, terrorism, and spying for Austria and France. At his initial interrogations, "Babel began by adamantly denying any wrongdoing, but then after three days he suddenly 'confessed' to what his interrogator was suggesting and named many people as co-conspirators. In all likelihood, he was tortured, almost certainly beaten." His interrogators included Boris Rodos, who had a reputation as a particularly brutal torturer, even by the standards of the time, and Lev Schwartzmann, who tortured the renowned theatre director, Vsevolod Meyerhold. Among those he accused of conspiring with him were his close friends Sergei Eisenstein, Solomon Mikhoels, and Ilya Ehrenburg. Despite months of pleading and letters sent directly to Beria, Babel was denied access to his unpublished manuscripts. In October 1939, Babel was again summoned for interrogation and denied all his previous testimony. A statement was recorded, "I ask the inquiry to take into account that, though in prison, I committed a crime. I slandered several people." This led to further delays as the NKVD frantically attempted to salvage their cases against Mikhoels, Ehrenburg, and Eisenstein. On 16 January 1940, Beria presented Stalin with a list of 457 'enemies of the party and the soviet regime' who were in custody, with a recommendation that 346, including Isaac Babel should be shot. According to Babel's daughter, Nathalie Babel Brown, his trial took place on January 26, 1940, in one of Lavrenti Beria's private chambers. It lasted about twenty minutes. The sentence had been prepared in advance and without ambiguity: death by firing squad, to be carried out immediately. He was shot at 1.30 am on 27 January 1940. Babel's last recorded words in the proceedings were, 'I am innocent. I have never been a spy. I never allowed any action against the Soviet Union. I accused myself falsely. I was forced to make false accusations against myself and others... I am asking for only one thing—let me finish my work.' He was shot the next day and his body was thrown into a communal grave. All of this information was revealed in the early 1990s. According to Simon Sebag Montefiore, Babel's ashes were buried with those of Nikolai Yezhov and several other victims of the Great Purge in a common grave at the Donskoy Cemetery. After the dissolution of the Soviet Union, a plaque was placed there which reads, "Here lie buried the remains of the innocent, tortured, and executed victims of political repressions. May they never be forgotten." According to the early official Soviet version, Isaac Babel died in the Gulag on March 17, 1941. Peter Constantine, who translated Babel's complete writings into English, has described the writer's execution as "one of the great tragedies of 20th century literature." Rehabilitation On December 23, 1954, during the Khrushchev thaw, a typed half sheet of paper ended the official silence. It read, "The sentence of the military collegium dated 26 January 1940 concerning Babel, I.E., is revoked on the basis of newly discovered circumstances and the case against him is terminated in the absence of elements of a crime." Babel's works were once again widely published and praised. His public rehabilitation as a writer was initiated with the help of his friend and admirer Konstantin Paustovsky, and a volume of Babel's selected works was published in 1957 with a laudatory preface by Ilya Ehrenburg. New collections of selected works by Babel were published in 1966, 1989 and 1990. Still, certain "taboo" parts such as mentions of Trotsky were censored until the glasnost period shortly before the dissolution of the Soviet Union. The first collections of the complete works of Babel were prepared and published in Russia in 2002 and 2006. Lost writings After his rehabilitation, Antonina Pirozhkova spent almost five decades campaigning for the return of Babel's manuscripts. These included Babel's translations of Sholem Aleichem's writings from Yiddish into Russian, as well as several unpublished short stories and novellas. According to Pirozhkova, As Babel put it, he worked on Sholem Aleichem to "feed his soul." Other "food for the soul" came from writing new stories and the novella "Kolya Topuz." He told me, "I'm writing a novella in which the main character is a former Odessa gangster like Benia Krik. His name is Kolya Topuz and so far, at least, that's also the name of the novella. I want to show how this sort of man adapts to Soviet reality. Kolya Topuz works on a collective farm during collectivization, and then he goes to work in a Donbass coal mine. But since he has the mentality of a gangster, he's constantly breaking out of the limits of normal life, which leads to numerous funny situations." Babel spent a great deal of time writing, and he finished many works. Only his arrest prevented his new works from coming out." However, even requests by Ilya Ehrenburg and the Union of Soviet Writers produced no answers from the Soviet State. The truth was not revealed until the advent of Perestroika. According to Pirozhkova, "In 1987, when so much was changing in our country, I again made an official request that the KGB search for Babel's manuscripts in its underground storage areas. In response to my request, I was visited by two KGB agents who informed me that the manuscripts had been burned. 'And so you've come in person to avoid giving me a written response to my request, am I correct?' 'How could you think such a thing? We came here to commiserate. We understand how precious Babel's manuscripts would be.'" Legacy After her husband's return to Moscow in 1935, Yevgenia Gronfein Babel remained unaware of his other family with Antonina Pirozhkova. Based upon statements made by Ilya Ehrenburg, Yevgenia further believed that her husband was still alive and living in exile. In 1956, however, Ehrenburg told her of her husband's execution while visiting Paris. After also informing Mrs. Babel of her husband's daughter with Antonina Pirozhkova, Ehrenburg asked Yevgenia to sign a false statement attesting to a pre-war divorce from her husband. Enraged, Yevgenia Babel spat in Ehrenberg's face and then fainted. Her daughter, Nathalie Babel Brown, believes that Ehrenburg did this under orders from the KGB. With two potential contenders for the role of Babel's widow, the Soviet State clearly preferred Babel's common-law wife Antonina to his legal wife Yevgenia, who had emigrated to the West. Although she was too young to have many memories of her father, Nathalie Babel Brown went on to become one of the world's foremost scholars of his life and work. When W.W. Norton published Babel's Complete Works in 2002, Nathalie edited the volume and provided a foreword. She died in Washington, D.C. in 2005. Lydia Babel, the daughter of Isaac Babel and Antonina Pirozhkova, also emigrated to the United States and currently resides in Silver Spring, Maryland. Although Babel's play Maria was very popular at Western European colleges during the 1960s, it was not performed in Babel's homeland until 1994. The first English translation appeared in 1966 in a translation by Michael Glenny in Three Soviet Plays (Penguin) under the title "Marya". Marias American premiere, directed by Carl Weber, took place at Stanford University in 2004. Several American writers have valued Babel's writings. Hubert Selby has called Babel "the closest thing I have to a literary influence." James Salter has named Babel his favorite short-story writer. "He has the three essentials of greatness: style, structure, and authority." George Saunders, when asked for a literary influence said "There's a Russian writer named Isaac Babel that I love. I can drop in anywhere in his works, read a few pages, and go, Oh yeah, language. It's almost like if you were tuning a guitar and you heard a beautifully tuned one and you say, Yeah, that's what we want. We want something that perfect. When I read him, it recalibrates my ear. It reminds me of the difference between an OK sentence and a really masterful sentence. Babel does it for me." Memorial in Odessa A memorial to Isaac Babel was unveiled on the north-west corner of the intersection of (V)ulitsa Rishelyevskaya and (V)ulitsa Zhukovskogo in Odessa in early September 2011, and, in conjunction with the inauguration of the memorial, a commemorative reading of three of his stories held, with musical interludes from the works of Isaac Schwartz, in the Philharmonic Hall in (V)ulitsa Pushkinskaya on September 6, 2011. The city also has an already existing (V)ulitsa Babelya ("Babel Street") in the Moldavanka. BibliographyBooks Конармейский дневник 1920 года (written 1920, published 1990). 1920 Diary, trans. H. T. Willetts (1995, Yale University Press; ) Конармия (1926). Red Cavalry Закат (written 1926, performed 1927, published 1928). Sunset Benya Krik (1926, screenplay). Filmed in Ukraine and available on DVD from National Center for Jewish Film. Одесские рассказы (published individually 1921–1924, collected in 1931). Odessa Stories Мария, Maria, play (published 1935, not performed in USSR)Posthumous compilations Benya Krik, the Gangster and Other Stories, ed. Avrahm Yarmolinsky, with translations by Walter Morison, Bernard Guilbert Guerney and the editor (Schocken, 1948) The Collected Stories, trans. Walter Morison (1955) Lyubka the Cossack and Other Stories, trans. Andrew R. MacAndrew (1963) You Must Know Everything, Stories 1915-1937, trans. Max Hayward, ed. with notes by Nathalie Babel (Farrar, Straus and Giroux, 1966) The Forgotten Prose, ed. and trans. Nicholas Stroud (Ardis, 1978) Collected Stories, trans. David McDuff (Penguin, 1994) The Complete Works of Isaac Babel, trans. Peter Constantine, ed. Nathalie Babel, intro. Cynthia Ozick (Norton, 2002) Odessa Stories, trans. Boris Dralyuk (Pushkin Press, 2016) The Essential Fictions, trans. Val Vinokur (Northwestern University Press, 2017)Short stories' "Story of My Dovecote" (1925) "Crossing the Zbruch" (as "I. Babiel") (1926) In popular culture British writer Bernard Kops wrote a poem, and later a play, about Babel: "Whatever Happened to Isaac Babel?" Brazilian writer Rubem Fonseca wrote a novel about the search for a lost manuscript from Babel: "Vastas emoções e pensamentos imperfeitos" (1988). American author Travis Holland wrote his debut novel "The Archivist's Story” about an archivist, Pavel Dubrov, in Lubyanka Prison who has to authenticate a Babel manuscript. In the novel his meeting with Babel prompts him to save the story at great risk to himself. References Further reading Isaac Babel and Nathalie Babel Brown, Isaac Babel: The Lonely Years 1925-1939 : Unpublished Stories and Private Correspondence, David R Godine, 1995. Jerome Charyn, Savage Shorthand: The Life and Death of Isaac Babel, Random House, 2005. Antonina N. Pirozhkova, At His Side: The Last Years of Issac Babel, Steerforth Press, 1998. Vitaly Shentalinsky, The KGB's Literary Files, Harvill, 1995 Gregory Freidin, ed. The Enigma of Isaac Babel: Life, History, Context. Stanford University Press, 2009 Konstantin Paustovsky, "Reminiscences of Babel", 1962 Adrien Le Bihan, "Isaac Babel, l'écrivain condamné par Staline", 346 p., Perrin, Paris, 2015. Sam Sacks, "A Masterpiece Worth Revisiting" (review of Isaac Babel, Red Cavalry, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 219 pp.), The Wall Street Journal, 30 April 2015. Nicholas Lezard, “Criminally Good” (review of Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), The Guardian, 1 November 2016. Charles King, “You Want Him to Keep Talking” (review of Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), Times Literary Supplement, 29 March 2017. Gary Saul Morson, "The Horror, the Horror" (review of Isaac Babel, The Essential Fictions, edited and translated from the Russian by Val Vinokur, Northwestern University Press, 404 pp.; Isaac Babel, Red Cavalry, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 219 pp; and Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), The New York Review of Books, vol. LXV, no. 2 (8 February 2018), pp. 28, 30. External links Babel's Biography (PDF) by Gregory Freidin (A version of this essay in Critical Biography was published in European Writer of the 20th century [NY: Scribners, 1990]) Isaac Babel Workshop (2004) at Stanford University Includes the Bibliography page with Efraim Sicher's "Checklist of Works of Isaac Babel's Works and Criticism" (2008) Gregory Freidin's Isaac Babel Page at Stanford University Prose in original Russian language at lib.ru Tough Guys reading The Collected Stories of Isaac Babel by Tom Teicholz Konarmiya, Norman Davies describes Babel in Sarmatian Review, issue 3, 1995 review of The Complete Works of Isaac Babel in January 2007 issue of Jewish Currents'' Bibliography at BookRags (Isaac Babel's daughter and editor) Finding Babel Documentary film that profiles Isaac Babel's life and impact, with readings by Liev Schreiber 1894 births 1940 deaths Writers from Odessa People from Odessky Uyezd Jewish dramatists and playwrights Soviet short story writers 20th-century Russian short story writers Soviet dramatists and playwrights Male dramatists and playwrights Soviet male writers 20th-century male writers Soviet journalists Russian male journalists Russian male short story writers Russian crime fiction writers Organized crime novelists Soviet screenwriters Male screenwriters Jewish humorists Jewish theatre Jewish Russian writers Nonpersons in the Eastern Bloc Yiddish–Russian translators Executed writers Great Purge victims from Russia Jews executed by the Soviet Union Soviet rehabilitations 20th-century translators People of the Polish–Soviet War Russian war correspondents Burials at Donskoye Cemetery 20th-century Russian journalists

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How many stories did he write?

How many stories did Isaac Babel write?

Isaac Babel

Back in Odessa, Babel started to write the Odessa Tales, a series of short stories set in the Odessan ghetto of Moldavanka. At their core, the stories describe the life of Jewish gangsters, both before and after the October Revolution. Many of them directly feature the fictional mob boss Benya Krik, who remains one of the great anti-heroes of Russian literature. These stories were later used as the basis for the stage play Sunset, which centers on Benya Krik's self-appointed mission to right the wrongs of Moldavanka. First on his list is to rein in his alcoholic, womanizing father, Mendel. According to Nathalie Babel Brown, "Sunset premiered at the Baku Worker's Theatre on October 23, 1927 and played in Odessa, Kiev, and the celebrated Moscow Art Theatre. The reviews, however, were mixed. Some critics praised the play's 'powerful anti-bourgeois stance and its interesting 'fathers and sons' theme. But in Moscow, particularly, critics felt that the play's attitude toward the bourgeoisie was contradictory and weak. Sunset closed, and was dropped from the repertoire of the Moscow Art Theatre. However, Sunset continued to have admirers. In a 1928 letter to his White emigre father, Boris Pasternak wrote, "Yesterday, I read Sunset, a play by Babel, and almost for the first time in my life I found that Jewry, as an ethnic fact, was a phenomenon of positive, unproblematic importance and power... I should like you to read this remarkable play..." According to Pirozhkova, filmmaker Sergei Eisenstein was also an admirer of Sunset and often compared it to the writings of Emile Zola for, "illuminating capitalist relationships through the experience of a single family." Eisenstein was also quite critical of the Moscow Art Theatre, "for its weak staging of the play, particularly for failing to convey to the audience every single word of its unusually terse text." CANNOTANSWER

CANNOTANSWER

Isaac Emmanuilovich Babel (; – 27 January 1940) was a Russian writer, journalist, playwright, and literary translator. He is best known as the author of Red Cavalry and Odessa Stories, and has been acclaimed as "the greatest prose writer of Russian Jewry." Babel was arrested by the NKVD on 15 May 1939 on fabricated charges of terrorism and espionage, and executed on 27 January 1940. Early years Isaac Babel was born in the Moldavanka section of Odessa to Manus and Feyga Babel. Soon after his birth, the Babel family moved to the port city of Mykolaiv. They later returned to live in a more fashionable part of Odessa in 1906. Babel used Moldavanka as the setting for Odessa Stories and the play Sunset. Although Babel's short stories present his family as "destitute and muddle-headed", they were relatively well-off. According to his autobiographical statements, Babel's father, Manus, was an impoverished shopkeeper. Babel's daughter, Nathalie Babel Brown, stated that her father fabricated this and other biographical details in order to "present an appropriate past for a young Soviet writer who was not a member of the Communist Party." In fact, Babel's father was a dealer in farm implements and owned a large warehouse. In his teens, Babel hoped to get into the preparatory class of the Nicolas I Odessa Commercial School. However, he first had to overcome the Jewish quota. Despite the fact that Babel received passing grades, his place was given to another boy, whose parents had bribed school officials. As a result, he was schooled at home by private tutors. In addition to regular school subjects, Babel studied the Talmud and music. According to Cynthia Ozick, "Though he was at home in Yiddish and Hebrew, and was familiar with the traditional texts and their demanding commentaries, he added to these a lifelong fascination with Maupassant and Flaubert. His first stories were composed in fluent literary French. The breadth and scope of his social compass enabled him to see through the eyes of peasants, soldiers, priests, rabbis, children, artists, actors, women of all classes. He befriended whores, cabdrivers, jockeys; he knew what it was like to be penniless, to live on the edge and off the beaten track." His attempt to enroll at Odessa University was blocked for ethnic reasons. Babel then entered the Kyiv Institute of Finance and Business. There he met Yevgenia Borisovna Gronfein, daughter of a wealthy industrialist, whom he eventually married. Work Early writings In 1915, Babel graduated and moved to Petrograd, in defiance of laws restricting Jews to living within the Pale of Settlement. Babel was fluent in French, besides Russian, Ukrainian and Yiddish, and his earliest works were written in French. However, none of his stories in that language have survived. In St. Petersburg, Babel met Maxim Gorky, who published some of Babel's stories in his literary magazine Letopis (Летопись, "Chronicle"). Gorky advised the aspiring writer to gain more life experience; Babel wrote in his autobiography, "I owe everything to that meeting and still pronounce the name of Alexey Maksimovich Gorky with love and admiration." One of his most famous semi-autobiographical short stories, "The Story of My Dovecote" (История моей голубятни, Istoriya moey golubyatni), was dedicated to Gorky. There is very little information about Babel's whereabouts during and after the October Revolution. According to one of his stories, "The Road" ("Дорога", "Doroga"), he served on the Romanian front until early December 1917. In his autobiography, Babel says he worked as a translator for the Petrograd Cheka, likely in 1917. In March 1918 he worked in Petrograd as a reporter for Gorky's Menshevik newspaper, Novaya zhizn (Новая жизнь, "New Life"). Babel continued publishing there until Novaya zhizn was forcibly closed on Lenin's orders in July 1918. Babel later recalled, "My journalistic work gave me a lot, especially in the sense of material. I managed to amass an incredible number of facts, which proved to be an invaluable creative tool. I struck up friendships with morgue attendants, criminal investigators, and government clerks. Later, when I began writing fiction, I found myself always returning to these 'subjects', which were so close to me, in order to put character types, situations, and everyday life into perspective. Journalistic work is full of adventure." October's Withered Leaves During the Russian Civil War, which led to the Party's monopoly on the printed word, Babel worked for the publishing house of the Odessa Gubkom (regional CPSU Committee), in the food procurement unit (see his story "Ivan-and-Maria"), in the Narkompros (Commissariat of Education), and in a typographic printing office. After the end of the Civil War, Babel worked as a reporter for The Dawn of the Orient (Заря Востока) a Russian-language newspaper published in Tbilisi. In one of his articles, he expressed regret that Lenin's controversial New Economic Policy had not been more widely implemented. Babel married Yevgenia Gronfein on August 9, 1919, in Odessa. In 1929, their marriage produced a daughter, Nathalie Babel Brown, who grew up to become a scholar and editor of her father's life and work. By 1925, the Babels' marriage was souring. Yevgenia Babel, feeling betrayed by her husband's infidelities and motivated by her increasing hatred of communism, emigrated to France. Babel saw her several times during his visits to Paris. During this period, he also entered into a long-term romantic relationship with Tamara Kashirina. Together, they had a son, Emmanuil Babel, who was later adopted by his stepfather Vsevolod Ivanov. Emmanuil's name was changed to Mikhail Ivanov, and he later became a noted artist. After the final break with Tamara, Babel briefly attempted to reconcile with Yevgenia and they had their daughter Natalie in 1929. In 1932, Babel met a Siberian-born Gentile named Antonina Pirozhkova (1909–2010). In 1934, after Babel failed to convince his wife to return to Moscow, he and Antonina began living together. In 1939, their common law marriage produced a daughter, Lydia Babel. According to Pirozhkova, "Before I met Babel, I used to read a great deal, though without any particular direction. I read whatever I could get my hands on. Babel noticed this and told me, 'Reading that way will get you nowhere. You won't have time to read the books that are truly worthwhile. There are about a hundred books that every educated person needs to read. Sometime I'll try to make you a list of them.' And a few days later he brought me a list. There were ancient writers on it, Greek and Roman—Homer, Herodotus, Lucretius, Suetonius—and also all the classics of later European literature, starting with Erasmus, Rabelais, Cervantes, Swift, and Coster, and going on to 19th century writers such as Stendhal, Mérimée, and Flaubert." Red Cavalry In 1920, Babel was assigned to Komandarm (Army Commander) Semyon Budyonny's 1st Cavalry Army, witnessing a military campaign of the Polish-Soviet War of 1920. He documented the horrors of the war he witnessed in the 1920 Diary (Конармейский Дневник 1920 года, Konarmeyskiy Dnevnik 1920 Goda), which he later used to write Red Cavalry (Конармия, Konarmiya), a collection of short stories such as "Crossing the River Zbrucz" and "My First Goose". The horrific violence of Red Cavalry seemed to harshly contrast the gentle nature of Babel himself. Babel wrote: "Only by 1923 I have learned how to express my thoughts in a clear and not very lengthy way. Then I returned to writing." Several stories that were later included in Red Cavalry were published in Vladimir Mayakovsky's LEF ("ЛЕФ") magazine in 1924. Babel's honest description of the brutal realities of war, far from revolutionary propaganda, earned him some powerful enemies. According to recent research, Marshal Budyonny was infuriated by Babel's unvarnished descriptions of marauding Red Cossacks and demanded Babel's execution without success. However, Gorky's influence not only protected Babel but also helped to guarantee publication. In 1929 Red Cavalry was translated into English by J. Harland and later was translated into a number of other languages. Argentine author and essayist Jorge Luis Borges once wrote of Red Cavalry, The music of its style contrasts with the almost ineffable brutality of certain scenes. One of the stories—"Salt"—enjoys a glory seemingly reserved for poems and rarely attained by prose: many people know it by heart. Odessa Stories Back in Odessa, Babel started to write Odessa Stories, a series of short stories set in the Odessan ghetto of Moldavanka. Published individually between 1921 and 1924 and collected into a book in 1931, the stories describe the life of Jewish gangsters, both before and after the October Revolution. Many of them directly feature the fictional mob boss Benya Krik, loosely based on the historical figure Mishka Yaponchik. Benya Krik is one of the great anti-heroes of Russian literature. These stories were later used as the basis for the stage play Sunset, which centers on Benya Krik's self-appointed mission to right the wrongs of Moldavanka. First on his list is to rein in his alcoholic, womanizing father, Mendel. According to Nathalie Babel Brown, "Sunset premiered at the Baku Worker's Theatre on October 23, 1927 and played in Odessa, Kyiv, and the celebrated Moscow Art Theatre. The reviews, however, were mixed. Some critics praised the play's 'powerful anti-bourgeois stance and its interesting 'fathers and sons' theme. But in Moscow, particularly, critics felt that the play's attitude toward the bourgeoisie was contradictory and weak. Sunset closed, and was dropped from the repertoire of the Moscow Art Theatre. However, Sunset continued to have admirers. In a 1928 letter to his White emigre father, Boris Pasternak wrote, "Yesterday, I read Sunset, a play by Babel, and almost for the first time in my life I found that Jewry, as an ethnic fact, was a phenomenon of positive, unproblematic importance and power. ... I should like you to read this remarkable play..." According to Pirozhkova, filmmaker Sergei Eisenstein was also an admirer of Sunset and often compared it to the writings of Émile Zola for, "illuminating capitalist relationships through the experience of a single family." Eisenstein was also quite critical of the Moscow Art Theatre, "for its weak staging of the play, particularly for failing to convey to the audience every single word of its unusually terse text." Maria Babel's play Maria candidly depicts both political corruption, prosecution of the innocent, and black marketeering within Soviet society. Noting the play's implicit rejection of socialist realism, Maxim Gorky accused his friend of having a "Baudelairean predilection for rotting meat." Gorky further warned his friend that "political inferences" would be made "that will be personally harmful to you." According to Pirozhkova, "Once Babel went to the Moscow Art Theater when his play Mariya was being given its first reading, and when he returned home he told me that all the actresses had been impatient to find out what the leading female role was like and who would be cast in it. It turned out that there was no leading female character present on the stage in this play. Babel thought that the play had not come off well, but ... he was always critical of his own work." Although intended to be performed in 1935, the Maria'''s performance was cancelled by the NKVD during rehearsals. Despite its popularity in the West, Maria was not performed in Russia until after the dissolution of the Soviet Union. Carl Weber, a former disciple of Bertolt Brecht, directed Maria at Stanford University in 2004. According to Weber, "The play is very controversial. [It] shows the stories of both sides clashing with each other during the Russian Civil War—the Bolsheviks and the old society members—without making a judgment one way or another. Babel’s opinion on either side is very ambiguous, but he does make the statement that what happened after the Bolshevik Revolution may not have been the best thing for Russia." His life in 1930s In 1930, Babel travelled in Ukraine and witnessed the brutality of forced collectivisation and dekulakisation. Although he never made a public statement about this, he privately confided in Antonina, "The bounty of the past is gone—it is due to the famine in Ukraine and the destruction of the village across our land." As Stalin tightened his grip on the Soviet intelligentsia and decreed that all writers and artists must conform to socialist realism, Babel increasingly withdrew from public life. During the campaign against "Formalism", Babel was publicly denounced for low productivity. At the time, many other Soviet writers were terrified and frantically rewrote their past work to conform to Stalin's wishes. However, Babel was unimpressed and confided in his protégé, the writer Ilya Ehrenburg, "In six months time, they'll leave the formalists in peace and start some other campaign." At the first congress of the Union of Soviet Writers (1934), Babel noted ironically, that he was becoming "the master of a new literary genre, the genre of silence." American Max Eastman describes Babel's increasing reticence as an artist in a chapter called "The Silence of Isaac Babyel" in his 1934 book Artists in Uniform. However, according to Nathalie Babel Brown, his life was tolerable: "The young writer burst upon the literary scene and instantly became the rage in Moscow. The tradition in Russia being to worship poets and writers, Babel soon became one of the happy few, a group that included Soviet writers who enjoyed exceptional status and privileges in an otherwise impoverished and despotic country. In the late 1930s, he was given a villa in the writer's colony of Peredelkino, outside Moscow. No secret was ever made of his having a wife and daughter in Paris. At the same time, hardly anyone outside of Moscow knew of two other children he had fathered. As a matter of fact, Babel had many secrets, lived with many ambiguities and contradictions, and left many unanswered questions behind him." In 1932, after numerous requests, he was permitted to visit his estranged wife Yevgenia in Paris. While visiting his wife and their daughter Nathalie, Babel agonized over whether or not to return to Soviet Russia. In conversations and letters to friends, he expressed a longing of being "a free man," while also expressing fear at no longer being able to make a living solely through writing. On July 27, 1933, Babel wrote a letter to Yuri Annenkov, stating that he had been summoned to Moscow and was leaving immediately. Babel's common-law wife, Antonina Pirozhkova, recalled this era, "Babel remained in France for so long that it was rumored in Moscow that he was never returning. When I wrote to him about this, he wrote back saying, 'What can people, who do not know anything, possibly say to you, who knows everything?' Babel wrote from France almost daily. I accumulated many letters from him during his 11-month absence. When Babel was arrested in 1939, all of these letters were confiscated and never returned to me." After his return to the Soviet Union, Babel decided to move in with Pirozhkova, beginning a common law marriage which would ultimately produce a daughter, Lidya Babel. He also collaborated with Sergei Eisenstein on the film Bezhin Meadow, about Pavlik Morozov, a child informant for the Soviet secret police. Babel also worked on the screenplays for several other Stalinist propaganda films. According to Nathalie Babel Brown, "Babel came to Paris in the summer of 1935, as part of the delegation of Soviet writers to the International Congress of Writers for the Defense of Culture and Peace. He probably knew this would have been his last chance to remain in Europe. As he had done numerous times during the last ten years, he asked my mother to return with him to Moscow. Although he knew the general situation was bad, he nevertheless described to her the comfortable life that the family could have there together. It was the last opportunity my mother had to give a negative answer, and she never forgot it. Perhaps it helped her later on to be proven completely right in her fears and her total lack of confidence in the Soviet Union. My mother described to me these last conversations with my father many times." Arrest and execution On May 15, 1939, Antonina Pirozhkova was awakened by four NKVD agents pounding upon the door of their Moscow apartment. Although surprised, she agreed to accompany them to Babel's dacha in Peredelkino. Babel was then placed under arrest. According to Pirozhkova: "In the car, one of the men sat in back with Babel and me while the other one sat in front with the driver. 'The worst part of this is that my mother won't be getting my letters', and then he was silent for a long time. I could not say a single word. Babel asked the secret policeman sitting next to him, 'So I guess you don't get too much sleep, do you?' And he even laughed. As we approached Moscow, I said to Babel, 'I'll be waiting for you, it will be as if you've gone to Odessa... only there won't be any letters....' He answered, 'I ask you to see that the child not be made miserable.' "But I don't know what my destiny will be." At this point, the man sitting beside Babel said to me, "We have no claims whatsoever against you." We drove to the Lubyanka Prison and through the gates. The car stopped before the massive, closed door where two sentries stood guard. Babel kissed me hard and said, "Someday we'll see each other..." And without looking back, he got out of the car and went through that door. According to Nadezhda Mandelstam, Babel's arrest became the subject of an urban legend within the NKVD. NKVD agents, she explains, were fond of "telling stories about the risks they ran" in arresting "enemies of the people". Babel had, according to NKVD lore, "seriously wounded one of our men" while "resisting arrest". Mrs. Mandelstam contemptuously declared, "Whenever I hear such tales I think of the tiny hole in the skull of Isaac Babel, a cautious, clever man with a high forehead, who probably never once in his life held a pistol in his hands." According to Peter Constantine, from the day of his arrest, Isaac Babel "became a nonperson in the Soviet Union. His name was blotted out, removed from literary dictionaries and encyclopedias, and taken off school and university syllabi. He became unmentionable in any public venue. When the film director Mark Donskoi's famous Gorky trilogy premiered the following year, Babel, who had worked on the screenplay, had been removed from the credits." According to his file, "Case #419, Babel, I.E.", the writer was held at the Lubyanka and Butyrka Prisons for a total of eight months as a case was built against him for Trotskyism, terrorism, and spying for Austria and France. At his initial interrogations, "Babel began by adamantly denying any wrongdoing, but then after three days he suddenly 'confessed' to what his interrogator was suggesting and named many people as co-conspirators. In all likelihood, he was tortured, almost certainly beaten." His interrogators included Boris Rodos, who had a reputation as a particularly brutal torturer, even by the standards of the time, and Lev Schwartzmann, who tortured the renowned theatre director, Vsevolod Meyerhold. Among those he accused of conspiring with him were his close friends Sergei Eisenstein, Solomon Mikhoels, and Ilya Ehrenburg. Despite months of pleading and letters sent directly to Beria, Babel was denied access to his unpublished manuscripts. In October 1939, Babel was again summoned for interrogation and denied all his previous testimony. A statement was recorded, "I ask the inquiry to take into account that, though in prison, I committed a crime. I slandered several people." This led to further delays as the NKVD frantically attempted to salvage their cases against Mikhoels, Ehrenburg, and Eisenstein. On 16 January 1940, Beria presented Stalin with a list of 457 'enemies of the party and the soviet regime' who were in custody, with a recommendation that 346, including Isaac Babel should be shot. According to Babel's daughter, Nathalie Babel Brown, his trial took place on January 26, 1940, in one of Lavrenti Beria's private chambers. It lasted about twenty minutes. The sentence had been prepared in advance and without ambiguity: death by firing squad, to be carried out immediately. He was shot at 1.30 am on 27 January 1940. Babel's last recorded words in the proceedings were, 'I am innocent. I have never been a spy. I never allowed any action against the Soviet Union. I accused myself falsely. I was forced to make false accusations against myself and others... I am asking for only one thing—let me finish my work.' He was shot the next day and his body was thrown into a communal grave. All of this information was revealed in the early 1990s. According to Simon Sebag Montefiore, Babel's ashes were buried with those of Nikolai Yezhov and several other victims of the Great Purge in a common grave at the Donskoy Cemetery. After the dissolution of the Soviet Union, a plaque was placed there which reads, "Here lie buried the remains of the innocent, tortured, and executed victims of political repressions. May they never be forgotten." According to the early official Soviet version, Isaac Babel died in the Gulag on March 17, 1941. Peter Constantine, who translated Babel's complete writings into English, has described the writer's execution as "one of the great tragedies of 20th century literature." Rehabilitation On December 23, 1954, during the Khrushchev thaw, a typed half sheet of paper ended the official silence. It read, "The sentence of the military collegium dated 26 January 1940 concerning Babel, I.E., is revoked on the basis of newly discovered circumstances and the case against him is terminated in the absence of elements of a crime." Babel's works were once again widely published and praised. His public rehabilitation as a writer was initiated with the help of his friend and admirer Konstantin Paustovsky, and a volume of Babel's selected works was published in 1957 with a laudatory preface by Ilya Ehrenburg. New collections of selected works by Babel were published in 1966, 1989 and 1990. Still, certain "taboo" parts such as mentions of Trotsky were censored until the glasnost period shortly before the dissolution of the Soviet Union. The first collections of the complete works of Babel were prepared and published in Russia in 2002 and 2006. Lost writings After his rehabilitation, Antonina Pirozhkova spent almost five decades campaigning for the return of Babel's manuscripts. These included Babel's translations of Sholem Aleichem's writings from Yiddish into Russian, as well as several unpublished short stories and novellas. According to Pirozhkova, As Babel put it, he worked on Sholem Aleichem to "feed his soul." Other "food for the soul" came from writing new stories and the novella "Kolya Topuz." He told me, "I'm writing a novella in which the main character is a former Odessa gangster like Benia Krik. His name is Kolya Topuz and so far, at least, that's also the name of the novella. I want to show how this sort of man adapts to Soviet reality. Kolya Topuz works on a collective farm during collectivization, and then he goes to work in a Donbass coal mine. But since he has the mentality of a gangster, he's constantly breaking out of the limits of normal life, which leads to numerous funny situations." Babel spent a great deal of time writing, and he finished many works. Only his arrest prevented his new works from coming out." However, even requests by Ilya Ehrenburg and the Union of Soviet Writers produced no answers from the Soviet State. The truth was not revealed until the advent of Perestroika. According to Pirozhkova, "In 1987, when so much was changing in our country, I again made an official request that the KGB search for Babel's manuscripts in its underground storage areas. In response to my request, I was visited by two KGB agents who informed me that the manuscripts had been burned. 'And so you've come in person to avoid giving me a written response to my request, am I correct?' 'How could you think such a thing? We came here to commiserate. We understand how precious Babel's manuscripts would be.'" Legacy After her husband's return to Moscow in 1935, Yevgenia Gronfein Babel remained unaware of his other family with Antonina Pirozhkova. Based upon statements made by Ilya Ehrenburg, Yevgenia further believed that her husband was still alive and living in exile. In 1956, however, Ehrenburg told her of her husband's execution while visiting Paris. After also informing Mrs. Babel of her husband's daughter with Antonina Pirozhkova, Ehrenburg asked Yevgenia to sign a false statement attesting to a pre-war divorce from her husband. Enraged, Yevgenia Babel spat in Ehrenberg's face and then fainted. Her daughter, Nathalie Babel Brown, believes that Ehrenburg did this under orders from the KGB. With two potential contenders for the role of Babel's widow, the Soviet State clearly preferred Babel's common-law wife Antonina to his legal wife Yevgenia, who had emigrated to the West. Although she was too young to have many memories of her father, Nathalie Babel Brown went on to become one of the world's foremost scholars of his life and work. When W.W. Norton published Babel's Complete Works in 2002, Nathalie edited the volume and provided a foreword. She died in Washington, D.C. in 2005. Lydia Babel, the daughter of Isaac Babel and Antonina Pirozhkova, also emigrated to the United States and currently resides in Silver Spring, Maryland. Although Babel's play Maria was very popular at Western European colleges during the 1960s, it was not performed in Babel's homeland until 1994. The first English translation appeared in 1966 in a translation by Michael Glenny in Three Soviet Plays (Penguin) under the title "Marya". Marias American premiere, directed by Carl Weber, took place at Stanford University in 2004. Several American writers have valued Babel's writings. Hubert Selby has called Babel "the closest thing I have to a literary influence." James Salter has named Babel his favorite short-story writer. "He has the three essentials of greatness: style, structure, and authority." George Saunders, when asked for a literary influence said "There's a Russian writer named Isaac Babel that I love. I can drop in anywhere in his works, read a few pages, and go, Oh yeah, language. It's almost like if you were tuning a guitar and you heard a beautifully tuned one and you say, Yeah, that's what we want. We want something that perfect. When I read him, it recalibrates my ear. It reminds me of the difference between an OK sentence and a really masterful sentence. Babel does it for me." Memorial in Odessa A memorial to Isaac Babel was unveiled on the north-west corner of the intersection of (V)ulitsa Rishelyevskaya and (V)ulitsa Zhukovskogo in Odessa in early September 2011, and, in conjunction with the inauguration of the memorial, a commemorative reading of three of his stories held, with musical interludes from the works of Isaac Schwartz, in the Philharmonic Hall in (V)ulitsa Pushkinskaya on September 6, 2011. The city also has an already existing (V)ulitsa Babelya ("Babel Street") in the Moldavanka. BibliographyBooks Конармейский дневник 1920 года (written 1920, published 1990). 1920 Diary, trans. H. T. Willetts (1995, Yale University Press; ) Конармия (1926). Red Cavalry Закат (written 1926, performed 1927, published 1928). Sunset Benya Krik (1926, screenplay). Filmed in Ukraine and available on DVD from National Center for Jewish Film. Одесские рассказы (published individually 1921–1924, collected in 1931). Odessa Stories Мария, Maria, play (published 1935, not performed in USSR)Posthumous compilations Benya Krik, the Gangster and Other Stories, ed. Avrahm Yarmolinsky, with translations by Walter Morison, Bernard Guilbert Guerney and the editor (Schocken, 1948) The Collected Stories, trans. Walter Morison (1955) Lyubka the Cossack and Other Stories, trans. Andrew R. MacAndrew (1963) You Must Know Everything, Stories 1915-1937, trans. Max Hayward, ed. with notes by Nathalie Babel (Farrar, Straus and Giroux, 1966) The Forgotten Prose, ed. and trans. Nicholas Stroud (Ardis, 1978) Collected Stories, trans. David McDuff (Penguin, 1994) The Complete Works of Isaac Babel, trans. Peter Constantine, ed. Nathalie Babel, intro. Cynthia Ozick (Norton, 2002) Odessa Stories, trans. Boris Dralyuk (Pushkin Press, 2016) The Essential Fictions, trans. Val Vinokur (Northwestern University Press, 2017)Short stories' "Story of My Dovecote" (1925) "Crossing the Zbruch" (as "I. Babiel") (1926) In popular culture British writer Bernard Kops wrote a poem, and later a play, about Babel: "Whatever Happened to Isaac Babel?" Brazilian writer Rubem Fonseca wrote a novel about the search for a lost manuscript from Babel: "Vastas emoções e pensamentos imperfeitos" (1988). American author Travis Holland wrote his debut novel "The Archivist's Story” about an archivist, Pavel Dubrov, in Lubyanka Prison who has to authenticate a Babel manuscript. In the novel his meeting with Babel prompts him to save the story at great risk to himself. References Further reading Isaac Babel and Nathalie Babel Brown, Isaac Babel: The Lonely Years 1925-1939 : Unpublished Stories and Private Correspondence, David R Godine, 1995. Jerome Charyn, Savage Shorthand: The Life and Death of Isaac Babel, Random House, 2005. Antonina N. Pirozhkova, At His Side: The Last Years of Issac Babel, Steerforth Press, 1998. Vitaly Shentalinsky, The KGB's Literary Files, Harvill, 1995 Gregory Freidin, ed. The Enigma of Isaac Babel: Life, History, Context. Stanford University Press, 2009 Konstantin Paustovsky, "Reminiscences of Babel", 1962 Adrien Le Bihan, "Isaac Babel, l'écrivain condamné par Staline", 346 p., Perrin, Paris, 2015. Sam Sacks, "A Masterpiece Worth Revisiting" (review of Isaac Babel, Red Cavalry, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 219 pp.), The Wall Street Journal, 30 April 2015. Nicholas Lezard, “Criminally Good” (review of Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), The Guardian, 1 November 2016. Charles King, “You Want Him to Keep Talking” (review of Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), Times Literary Supplement, 29 March 2017. Gary Saul Morson, "The Horror, the Horror" (review of Isaac Babel, The Essential Fictions, edited and translated from the Russian by Val Vinokur, Northwestern University Press, 404 pp.; Isaac Babel, Red Cavalry, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 219 pp; and Isaac Babel, Odessa Stories, translated from the Russian by Boris Dralyuk, London, Pushkin Press, 221 pp.), The New York Review of Books, vol. LXV, no. 2 (8 February 2018), pp. 28, 30. External links Babel's Biography (PDF) by Gregory Freidin (A version of this essay in Critical Biography was published in European Writer of the 20th century [NY: Scribners, 1990]) Isaac Babel Workshop (2004) at Stanford University Includes the Bibliography page with Efraim Sicher's "Checklist of Works of Isaac Babel's Works and Criticism" (2008) Gregory Freidin's Isaac Babel Page at Stanford University Prose in original Russian language at lib.ru Tough Guys reading The Collected Stories of Isaac Babel by Tom Teicholz Konarmiya, Norman Davies describes Babel in Sarmatian Review, issue 3, 1995 review of The Complete Works of Isaac Babel in January 2007 issue of Jewish Currents'' Bibliography at BookRags (Isaac Babel's daughter and editor) Finding Babel Documentary film that profiles Isaac Babel's life and impact, with readings by Liev Schreiber 1894 births 1940 deaths Writers from Odessa People from Odessky Uyezd Jewish dramatists and playwrights Soviet short story writers 20th-century Russian short story writers Soviet dramatists and playwrights Male dramatists and playwrights Soviet male writers 20th-century male writers Soviet journalists Russian male journalists Russian male short story writers Russian crime fiction writers Organized crime novelists Soviet screenwriters Male screenwriters Jewish humorists Jewish theatre Jewish Russian writers Nonpersons in the Eastern Bloc Yiddish–Russian translators Executed writers Great Purge victims from Russia Jews executed by the Soviet Union Soviet rehabilitations 20th-century translators People of the Polish–Soviet War Russian war correspondents Burials at Donskoye Cemetery 20th-century Russian journalists

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Who was the new frontman?

Who was the new frontman of Foreigner?

Foreigner (band)

Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004 in Santa Barbara, California at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy with a brand new version of Foreigner that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only and was eventually replaced by former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West briefly continued with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007 - the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. CANNOTANSWER

former Hurricane singer Kelly Hansen,

Foreigner is a British-American rock band, originally formed in New York City in 1976 by veteran British guitarist and songwriter Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald, along with American vocalist Lou Gramm. Jones came up with the band's name as he, McDonald and Dennis Elliott were British, whereas Gramm, Al Greenwood and Ed Gagliardi were American. In 1977 Foreigner released its self-titled debut album, the first of four straight albums to be certified at least 5x platinum in the US. Foreigner peaked at No. 4 on the US album chart and in the Top 10 in Canada and Australia, while yielding two Top 10 hits in North America, "Feels Like the First Time" and "Cold as Ice". Their 1978 follow-up, Double Vision, was even more successful peaking at No. 3 in North America with two hit singles, “Hot Blooded” a No. 3 hit in both countries, and the title track, a US No. 2 and a Canadian No. 7. Foreigner's third album, Head Games (1979), went to No. 5 in North America producing two Top 20 singles, including its title track. Reduced to a quartet, their album 4 (1981) hit No. 1 (for 10 weeks) in the US and No. 2 in Canada, while becoming Foreigner's break-through album outside of North America, going Top 5 in the UK, Germany and Australia. Three of 4’s singles were hits: "Urgent" reached No. 1 in Canada and on the new US Rock Tracks chart, rose to No. 4 on the US Hot 100 and became their first Top 15 hit in Germany; the ballad “Waiting for a Girl Like You” peaked at No. 2 in both the US (for a record 10 weeks) and Canada, topped the US Rock Tracks chart and became their first Top 10 hit in the UK and Australia; and "Juke Box Hero" reached No. 3 on the Rock Tracks chart and the Top 30 on the Hot 100. In 1982 Foreigner released its first greatest hits album, Records, which has gone on to sell 7 million copies in the US. In 1984 Foreigner had its biggest hit single, the anthemic ballad "I Want to Know What Love Is", which topped the US, UK, Canadian and Australian charts, while hitting No. 3 in Germany and the Top 10 in numerous other countries. Its source album, Agent Provocateur, was the band's most successful in the UK, Germany and some other countries in Europe, where it peaked at No. 1, and in Australia where it peaked at No. 3, while making the Top 5 in the US and Canada. After a break, Foreigner released Inside Information (1987), which despite the No. 6 US and Australian hit, “Say You Will” (which also rose to No. 1 on the US Rock Tracks chart) and the No. 5 US hit, “I Don’t Want to Live Without You” (which also reached No. 1 on the US Adult Comtemporary chart), had a large sales drop-off, only hitting the Top 10 in a few European countries with a No. 15 peak in the US. The band's most recent albums, Unusual Heat (1991), without Gramm, who departed due to the band's shift towards the use of synthesizers, Mr. Moonlight (1994), with Gramm back on vocals, and Can't Slow Down (2009), once again without Gramm, were not major sellers; the highest chart positions were obtained in Germany, where the last album peaked at No. 16. Foreigner is one of the world's best-selling bands of all time with worldwide sales of more than 80 million records, including 37.5 million in the US. Leader Mick Jones has been for many years the only founding member still involved. Band history Formation, 1976 Since its beginning, Foreigner has been led by English musician Mick Jones (former member of Nero and the Gladiators, Johnny Hallyday's band, Spooky Tooth and The Leslie West Band). After the collapse of the Leslie West Band in 1976, Jones found himself stranded in New York City; West's manager, Bud Prager, encouraged Jones to continue his songwriting and rehearse a band of his own in some space Prager had near his New York office. Jones got together with New York keyboardist Al Greenwood (who had just played with former Flash members Colin Carter and Mike Hough in a group called Storm), drummer Stan Williams and Louisiana bassist Jay Davis (later with Rod Stewart) and began jamming. Another friend, Stories singer Ian Lloyd, was brought in to sing but Jones decided the chemistry was not quite right and retained only Greenwood as he renewed his search for players. During a session for Ian Lloyd's album, Jones met up with transplanted Englishman and ex-King Crimson member Ian McDonald and another session for Ian Hunter unearthed another fellow Brit in drummer Dennis Elliott. But after auditioning about forty or fifty singers, the right vocalist was becoming harder to come by until Jones dragged out an old Black Sheep album given to him backstage at a Spooky Tooth concert a few years prior by that group's lead singer, Lou Gramm. Jones put in a call to Gramm, who was back in his hometown of Rochester, New York, after Black Sheep's break-up, and sent him a plane ticket to New York City. Gramm proved to be the missing piece of the puzzle and Brooklyn bassist Ed Gagliardi completed the new sextet. A name, "Trigger", was tentatively agreed to and was the name that appeared on their demo tape, but it was passed on by all the record companies it was delivered to. John Kalodner, a former journalist and radio programmer who was working in A&R at Atlantic Records, happened to spot a tape on Atlantic president Jerry L. Greenberg's desk with the Trigger identification on it. Kalodner had just been to hear an outfit called Trigger and realized that this was not the same band. He convinced Greenberg that at least one of the songs on the tape could be a big hit and to look into signing this group immediately. Because the Trigger name was already taken, Jones came up with the Foreigner moniker from the fact that no matter what country they were in, three would be foreigners, because he, McDonald and Elliott were English, while Gramm, Greenwood and Gagliardi were American. Debut album, March 1977 In November 1976, after six months of rehearsals, the newly named Foreigner started recording their debut album with producers John Sinclair and Gary Lyons at The Hit Factory but switched to Atlantic Recording Studios where they finished recording the basic tracks and completed the overdubs. The first attempt at mixing the album was done at Sarm Studios, London. But, because of the band's dissatisfaction with the results, the album was re-mixed back at Atlantic by Mick Jones, Ian McDonald and Jimmy Douglass. Bud Prager signed on as the group's manager, a role he would continue in for the next 17 years. The band's debut, Foreigner, was released in March 1977 and was certified for sales of five million copies in the United States, staying in the Top 20 for a year with a peak at No. 4. It also made the Top 10 in both Canada and Australia and went to No. 1 in Norway. Foreigner had three significant hits in North America with "Feels Like the First Time" hitting No. 4 in the US and No. 7 in Canada, "Cold as Ice" reaching No. 6 and No. 9 in the countries and "Long, Long Way from Home" peaking at around No. 20. "Cold as Ice" was also modestly successful in the UK, Australia, the Netherlands and Belgium where it reached the Top 20 or 30. 1977–1990 By May 1977, Foreigner was already headlining theaters and had already scored a gold record for the first album. Not long afterwards, they were selling out U.S. basketball arenas and hockey rinks. After a show at Memorial Hall in Kansas City, Kansas, on May 6, 1977, drummer Elliott injured his hand, prompting the band to call in Ian Wallace (ex-King Crimson) to play alongside Elliott on some of the dates until the hand was healed. After almost a year on the road, the band played before over two hundred thousand people at California Jam II on March 18, 1978, and during the following month, the band toured Europe, Japan and Australia for the first time. Their second album, Double Vision (released in June 1978), co-produced by Keith Olsen, topped their previous, selling seven million records in the US, peaking at No. 3 in both the US and Canada, while dropping to No. 13 in Australia. It was the band's first album to chart in the UK where it peaked at No. 32, but Double Vision (and their next two albums) did not chart in Norway where their debut album had gone No. 1. The album spawned hits that were even more successful in North America than those from their debut album with "Hot Blooded" hitting No. 3 in both countries, the title track "Double Vision" reaching No. 2 in the US and No. 7 in Canada with "Blue Morning, Blue Day" reaching No. 15 and No. 21. Aside from "Hot Blooded" reaching No. 24 in Australia there was little airplay or sales in other countries for the singles from Double Vision or from their next album, Head Games. Album number three, Head Games (September 1979), co-produced by Roy Thomas Baker, which was referred to by Gramm as their "grainiest" album, was also successful, in this case because of the thunderous "Dirty White Boy" and another title track hit "Head Games". Both songs were Top 15 hits in the US and Canada but did not chart in any other counties. The album reached No. 5 in North America but its sales dropped off substantially in Australia (No. 45) without any gains in any other countries. For Head Games, bassist Ed Gagliardi was replaced by Englishman Rick Wills. In his autobiography, Juke Box Hero (named after the seminal Foreigner song), Gramm explains why the band parted ways with Gagliardi: "He was a little headstrong and had his own ideas that weren't always compatible with what we were trying to accomplish. Ed was obstinate at times, playing the song the way he wanted to play it rather than the way it was drawn up. Jones often had to stop sessions to get Ed back on track. After a while it became tiresome and slowed down the recording process." Gramm went on to say that he was disappointed overall with Head Games and thought it sounded unfinished. It ended up selling about two million fewer than its predecessor. In September 1980 co-founders Al Greenwood and Ian McDonald were sacked as Jones wished to have more control over the band and write most of the music (along with Gramm). In his book, Gramm goes on to talk about this difficult time: "The chemistry that made the band right in the beginning didn't necessarily mean it would always be right. I think a pretty major communication lapse appeared and I don't think anybody really knew what anybody was feeling—the deep, inner belief about the direction of the band and how we were progressing. We had reached a point where there was a lot of dissatisfaction". In the liner notes for the 2000 release, Juke Box Heroes: The Foreigner Anthology, Jones went on to elaborate further: "Ian McDonald, who I consider a great musician and multi-instrumentalist, began to focus more and more on guitar playing, while I believed his true talent lay more in the dimensional and creative imagery he gave the first two albums. Al Greenwood, our keyboard wiz and a very important part of the Foreigner sound at the beginning, had also started to focus more on songwriting. Although both their contributions to the band had been vital, a conflict was developing about the musical direction of the band. I just felt we needed to clarify it. So Lou, Rick, Dennis and I made the decision, and that's when we went down to four." And according to McDonald in a 1999 interview, "Mick and Lou decided they wanted to be the focus of the band. Mick wanted to make it more apparent that it was his group, so he decided to make a smaller group. That was his decision. I wouldn't have left—I loved the group, it was not my decision." McDonald noted that there was much creative compromise working in the band and that he did more than he received credit for, much as he did in King Crimson. McDonald stated that "he had a lot to do with the making of those records and the arrangements and the creating of those songs, more than is probably apparent. I did a lot that went uncredited, which I was happy to do though. When you're in a group you must contribute as much as you can. I was happy to do that. But as I said, it maybe didn't appear that I was doing as much as I in fact was. I had a lot to do with that group... as well as... Mick Jones, obviously, and everyone else—I'm not trying to take all the credit, but I'm just saying that I was there, I was involved, and I loved it." The band was now stripped down to a quartet, with session players brought in as needed to record or tour (see below for complete list of members). Greenwood soon joined Gagliardi to form the AOR band Spys, with John Blanco, Billy Milne and John DiGaudio. The band released two albums, an eponymous debut, and the follow-up Behind Enemy Lines. In the meantime, Foreigner began work on the next album at Electric Lady Studios in New York City with producer Robert John "Mutt" Lange, engineered by Dave Wittman (currently with Trans-Siberian Orchestra). 4 (released in July 1981) contained the hits "Urgent" (which includes the famous Junior Walker sax solo), "Waiting for a Girl Like You", "Juke Box Hero" and "Break it Up". Before releasing albums of his own, Thomas Dolby played synthesizers on 4 (he contributed the signature synth sound on "Urgent" and played the intro to "Waiting for a Girl Like You"). 4 became Foreigners first and only No 1. album in the US, spending 10 weeks in that position, and peaked at No. 2 in Canada. It also became the band's break-through album overseas, reaching the Top 5 in the UK, Germany and Australia. The first single, "Urgent" peaked at No. 4 on the US Hot 100 and topped US Album Rock Tracks chart and the Canadian RPM Singles Chart. It also became their biggest hit to date in Germany reaching the Top 15 there, higher than the other singles from the album, but was less successful in Australia, peaking at No. 24 and the UK, where it did not chart. The second single, "Juke Box Hero" was very successful on rock stations in North America, reaching No. 3 on the US Rock Tracks chart, but only reached No. 26 on the US Hot 100 and No. 39 in Canada, while reaching the Top 30 in Germany and France, their first song to chart in the later. The third single released, the power ballad, “Waiting for a Girl Like You”, went to No. 2 on the US Hot 100 for a record 10 consecutive weeks and, like "Urgent", topped the US Rock Tracks chart. It also went to No. 2 in Canada and also became their first single to reach the Top 10 in the UK (No. 8) and Australia (No. 3) while reaching the Top 20 in the Netherlands and Belgium and the Top 30 in Germany and France. For their 1981–82 tour in support of 4, the group added Peter Reilich (keyboards, synthesizers, who had played with Gary Wright), former Peter Frampton band member Bob Mayo (keyboards, synthesizers, guitar, backing vocals) and Mark Rivera (sax, flute, keyboards, synthesizers, guitar, backing vocals). Mayo and Rivera had also appeared on the sessions for 4. Reilich was dropped in May 1982 but Mayo and Rivera continued with the band through 1988. Foreigner's next album, Agent Provocateur, co-produced by Alex Sadkin, was released in December 1984 and in 1985 gave them their first and only No. 1 hit song in the US and several other countries (except for Canada were "Urgent" had done the trick) when "I Want to Know What Love Is", a ballad backed by Jennifer Holliday and the New Jersey Mass Choir, topped the charts in the US (both Hot 100 and Rock Tracks), UK, Canada, Australia, New Zealand, Norway, Sweden, etc. while hitting No. 3 in Germany (their only Top 10 hit there), No. 4 in France (their only Top 20 hit there) and No. 6 in both the Netherlands and Belgium. "That Was Yesterday" was the next single from the album in early 1985 and proved to be another sizable hit reaching No. 12 on the US Hot 100 (No. 4 on Rock Tracks) and the Top 30 in several other countries. The album was equally successful becoming Foreigner's only No. 1 album in the UK, Germany and Norway while reaching No. 3 in Australia (its biggest album there) and Canada, and No. 4 in the US and New Zealand (its biggest album there). It was certified 3x platinum in the US, their lowest selling album to date in that country. During their 1985 summer/fall tour, Foreigner appeared at the first Farm Aid on September 22 in Champaign, Illinois. In between his Foreigner commitments, Jones also started a side career as a producer for such albums as Van Halen's 5150 (1986), Bad Company's Fame and Fortune (1986) and Billy Joel's Storm Front (1989). In December 1987 Foreigner released Inside Information, spawning hits such as "Say You Will" and "I Don't Want to Live Without You". On May 14, 1988, the band headlined Atlantic Records 40th Anniversary concert at Madison Square Garden, culminating with "I Want to Know What Love Is", in which the likes of Phil Collins, Crosby, Stills and Nash, Roberta Flack and other Atlantic artists joined in, singing in the choir. Later during the summer, the band went back on the road but the touring for Inside Information was limited to Europe, Japan and Australia. For this tour, Rivera and Mayo were not available, so Larry Oakes (guitar, keyboards, synthesizers, backing vocals) and Lou Cortelezzi (sax) augmented the quartet of Gramm, Jones, Elliott and Wills. Lead vocalist Gramm's departure, May 1990 In the late 1980s, Jones and Gramm each put out solo efforts on Atlantic. Gramm released Ready or Not in January 1987 and shortly after its release, rehearsals for Foreigner's next album had started but ground to a halt as Gramm's status with the group was uncertain. But after the promotion and concert dates for Gramm's album were finished, cooler heads prevailed and Lou rejoined Foreigner in the studio for Inside Information, which was out at the end of 1987. Jones had Mick Jones in August 1989, then Gramm followed with his second solo release, Long Hard Look (October 1989), and decided to leave the group in May 1990 while preparing to tour behind Long Hard Look as the opener for Steve Miller Band. After finishing this tour, Gramm went on to form the short-lived band Shadow King, which put out one eponymous album on Atlantic in October 1991. Meanwhile, Jones brought in a new lead singer, Johnny Edwards (formerly of the bands Buster Brown, Montrose, King Kobra, Northrup and Wild Horses). Edwards made his first live appearance with Foreigner at the Long Island club Stephen Talkhouse on August 15, 1990, where he, Jones, Dennis Elliott and Rick Wills appeared, joined by special guests Terry Thomas (on guitar, who produced their next album) and Eddie Mack on harmonica. The new edition of Foreigner released the album Unusual Heat in June 1991. This was at the time their worst-selling album and only climbed as high as No. 117 on the Billboard 200, although "Lowdown and Dirty" was a minor mainstream rock hit, reaching No. 4 on that chart. In July 1991 the new lineup of Foreigner played some European dates then made its official U.S. debut on August 9 performing on the second night of a Billy Joel benefit concert at Deep Hollow Ranch in Montauk, New York, to raise funds for the preservation of Montauk Point Lighthouse. For their 1991 tour, Jeff Jacobs, who had played in Joel's band, was brought in as the new keyboardist and Mark Rivera returned. But during the fall leg of this tour, Elliott decided to leave the group after a concert at The Ritz in NYC on November 14, 1991, and embark on a career as a wood sculptor. Larry Aberman was then recruited as a temporary replacement until Mark Schulman arrived in 1992 as drummer for the next three years. Scott Gilman (guitar, sax, flute) joined the touring band in 1992 and Thom Gimbel took over from Gilman and Rivera in late 1992 after they departed. When Gimbel went to Aerosmith in 1993, Gilman returned to handle the guitar/sax/flute duties until Gimbel came back permanently in the spring of 1995. Gramm returns, 1992 During the Los Angeles riots, inside the confines of the Sunset Marquis Hotel in West Hollywood, where Mick Jones had gone to meet with Lou Gramm, they both ended up sequestered by a city curfew. They decided to use their time together resurrecting their partnership. "I flew to Los Angeles, during the riots," says Gramm. "We got flown to John Wayne Airport instead of LAX because they were shooting at the planes. Mick and I were holed up in the Sunset Marquis in L.A., with armed security guards walking around on the roof. It was a little weird, to say the least." Gramm ended up rejoining Foreigner, bringing along his Shadow King bandmate bassist Bruce Turgon to replace bassist Wills (who'd left after the band's 1991 tour after a falling out with Jones) and co-produced the band's second greatest hits album, The Very Best ... and Beyond (September 1992), which included three new songs. 1994–2003 In October 1994 Foreigner released what was supposed to be a comeback album, Mr. Moonlight, in Japan. Featuring new drummer Mark Schulman and augmented by a fifth member, keyboardist Jeff Jacobs, this album was not released in the U.S. until February 1995 and fared even worse than Unusual Heat. It only peaked at No. 136 on the Billboard 200, although the ballad "Until the End of Time" was a minor hit, reaching No. 42 on the Billboard Hot 100. In January 1995 Ron Wikso (who had played in The Storm with former Journey members Gregg Rolie and Ross Valory) took over percussion duties from Schulman, and Brian Tichy succeeded Wikso in 1998 before Schulman would return in 2000. In 1997 Gramm underwent surgery to remove a brain tumor. The medications he was prescribed caused considerable weight gain and weakened his singing voice. By 1998, the band was back on the road, but Gramm was visibly struggling and it would take him several years to get back to the point where he felt comfortable on stage. In the summer of 1999, Foreigner went on tour as the opening act for Journey and the following summer, Jeff Jacobs had to leave the road for a short time during the band's 2000 summer tour while his wife was giving birth to their child. Keyboardist John Purdell (who had been co-producer of the new tracks on their 1992 album The Very Best of ... and Beyond) stepped in to sub for Jacobs until he was able to return. Vocalist Scott Garrett of the tribute band "Cold as ice" stepped in for Gramm on lead vocals. In 2001 the Warner Music Group selected Foreigner and 4 to be among the first group of albums from their catalog to be remastered, enhanced and released in the new DVD Audio format. In 2002 the 25th Anniversary Year brought affirmation of the enduring respect for Foreigner recordings with Rhino Entertainment reissuing the 1977 to 1981 multi-platinum albums in special enhanced formats. Foreigner, Double Vision, Head Games and 4 received the attention of Rhino's staff with new photos, liner notes and bonus tracks of previously unreleased material. New greatest hits albums were also produced in the U.S. and in Europe. The U.S. version reached No. 80 on the Billboard 200 Album chart. For the group's 25th Anniversary Tour in 2002, they were joined by former Heart and Montrose beat keeper Denny Carmassi. In late October/early November, then December, of 2002, Foreigner played in Belgium and Germany at the annual Night of the Proms festival. It was the last time that Lou Gramm and Mick Jones would play together until June 2013. Gramm would leave the group in early 2003. Jones stated that he and Gramm split because they weren't communicating: "I think we really tried hard to save it, but it got to the point when we both realized that to go on would be detrimental for both of us." New lead vocalist Kelly Hansen, March 2005 Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004, in Santa Barbara, California, at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy dubbed "Mick Jones & Friends" that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only. Inspired by the event and further encouraged by Jason Bonham, Jones continued the search for a new frontman. He would eventually find former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West appeared briefly with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Can't Slow Down, Jones' health issues, and Acoustique (2007–2012) Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007—the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. Foreigner released a new album on September 29, 2009, titled Can't Slow Down. It was one of several recent classic rock releases (AC/DC, the Eagles, Journey and Kiss being four others) to be released exclusively through the Walmart stores chain in the US, while in Europe the album was released by earMUSIC (a label part of the Edel group), charting top 20 in Germany (16) and Top 30 in Switzerland. Can't Slow Down debuted at No. 29 on the Billboard 200. The first two singles from the album, "When It Comes to Love" and "In Pieces" both reached the Top 20 on Billboard's Adult Contemporary chart. In 2010 it was awarded a gold certification from the Independent Music Companies Association, which indicated sales of at least 100,000 copies throughout Europe. In early 2010, Foreigner teamed up with Styx and Kansas for the United in Rock Tour. On May 4, 2010, it was announced that Brian Tichy's replacement as drummer would be Jason Sutter. Jason Sutter's time with the band was short as he left by 2011. Mark Schulman then returned to Foreigner for his third go-round as drummer. On February 20, 2011, the band played for the first time in Bangalore, India along with sitar player Niladri Kumar. In June 2011 Foreigner (again along with Styx) co-headlined with Journey on their UK tour. After this, they joined up with Journey and Night Ranger on a triple bill summer/fall tour of the US. For some dates of this tour, Brian Tichy filled in for Foreigner's drummer Mark Schulman when he was not available. From August 19 to September 10, 2011, Night Ranger guitarist Joel Hoekstra did double duty playing for NR as well as subbing for Jones, who had taken ill. Right after this, guitarist Bruce Watson (ex-Rod Stewart) was brought in as Jones' stand-in for the tour's remaining dates and continued to tour with the group when they hit the road again in February 2012 after Jones underwent aortoiliac bypass surgery in Miami. On October 4, 2011, Foreigner released Acoustique, which presented their best and most famous songs, along with some newer tracks, recorded in stripped-down acoustic mode. In May 2012 after being diagnosed with colorectal cancer, Bluestein was forced to take a leave of absence from the band. His stand in on keyboards was Ollie Marland. Bluestein was able to return to the group in August 2012 and Tichy once again rejoined in the interim until his schedule with Whitesnake called him away. In September 2012, the man Tichy replaced in Whitesnake, Chris Frazier, became Foreigner's new percussionist. On August 31, 2012, after over a year away, Jones returned to the concert stage at Atlanta's Chastain Park. Guitarist Watson, in the meantime, stayed on until Jones was able to return to full health. At this very same show, keyboardist Derek Hilland (ex-Iron Butterfly, Whitesnake and Rick Springfield) came on board to sub for Bluestein for the group's late summer/fall tour dates and again during the winter/spring of 2013 until Bluestein was able to return. 2013–present On January 9, 2013, the band's original drummer, Dennis Elliott, joined Foreigner on stage at the Hard Rock Cafe in Hollywood, Florida, to play on "Hot Blooded". In addition to touring small clubs and venues, the band frequently is engaged for private parties and conventions, including playing at SeaWorld in Orlando for an IBM Rational Conference (June 6, 2012), at the Gaylord convention center in Washington, D.C., for the Teradata Partners 2012 conference (October 25, 2012) and at SAP's Field Kickoff Meeting in Las Vegas (January 23, 2013). On June 13, 2013, at the 44th Annual Songwriters Hall of Fame Award Ceremony, Jones and Gramm were officially inducted to the Songwriters Hall of Fame. Billy Joel was on hand to induct Jones and Gramm, singing snippets of Foreigner's hits in his introduction speech. Jones said he was proud as the honor makes his work "legit". The duo then took stage one more time and, along with Thom Gimbel and the house band, performed "Juke Box Hero" and "I Want to Know What Love Is" with Anthony Morgan's Inspirational Choir of Harlem—a performance that brought the entire audience to its feet. In 2014 Foreigner teamed up with Styx and former Eagles guitarist Don Felder for the Soundtrack of Summer Tour. Original bassist Ed Gagliardi died on May 11, 2014, aged 62, after an eight-year battle with cancer. Although discussions of an original member reunion had been proposed, the original band had not performed together since 1979. On June 18, 2014, Foreigner teamed up with the Brockton High School concert choir at the Leader Bank Pavilion in Boston, MA. They performed one of their greatest hits: I Want To Know What Love Is. On January 12, 2015, in Sarasota, Florida, Foreigner were joined on stage by original drummer Dennis Elliott and former bassist Rick Wills to play "Hot Blooded". In Hartford, Connecticut, on June 24, 2015, Foreigner began a summer tour as the opening act for Kid Rock. Foreigner appeared on the "Today Show" on February 11, 2016, along with the choir from Our Lady of Mercy Academy to promote their Acoustic Tour and the release of their new album, In Concert: Unplugged. On Saturday September 24, 2016, Foreigner performed before an estimated 20,000+ people at the 100th anniversary of the Durham Fair in Durham, Connecticut. The encore song "I Want to Know What Love Is" utilized the local Coginchaug High School concert choir for backup—their performance having been rehearsed with the band via Skype during the previous months. In a 2016 interview, Jones talked about a possible 40th-anniversary reunion tour, featuring the Head Games-era lineup: "It's quite possible. We've actually been talking about it. I'm not at a point where I can say it's definitely gonna happen, but we're all working on trying to make it happen. It's kind of exciting. And hopefully it'll be feasible and possible to pull it off next year (2017). Lou (Gramm) and I have communicated and we've kept up a sort of loose communication as I have actually also with Ian McDonald, Al Greenwood, Dennis Elliott and Rick Wills. We're at the early stages, but we're trying to put something together to commemorate (it's scary when I say it) 40 years." On November 25, 2016, in celebration of their 40th anniversary, Foreigner released a limited-edition 10-inch vinyl EP, The Flame Still Burns, on Rhino Records for Record Store Day's Black Friday event. The EP's track listing contained the title song (which had previously appeared on Foreigner's Acoustique album and had earlier been featured in the 1998 film Still Crazy) plus live unplugged versions of "Feels Like The First Time", "Long, Long Way From Home" and "Juke Box Hero". On July 20, 2017, at Jones Beach Theater in New York, the current Foreigner lineup were joined for their encore by Lou Gramm, Ian McDonald and Al Greenwood to help celebrate the band's 40th anniversary and Greenwood and McDonald came back the following year to take the stage with the group for their Jones Beach show on June 22, 2018. Dennis Elliott likewise joined his old mates for two songs at Foreigner's show on August 2, 2017, at MidFlorida Credit Union Amphitheatre in Tampa, Florida. Another reunion was announced for a pair of shows to take place on October 6–7, 2017, at the Soaring Eagle Casino & Resort in Mount Pleasant, Michigan, where the group was set to be joined again by Lou Gramm, Dennis Elliott, Al Greenwood, Ian McDonald and Rick Wills. The concerts were filmed for future release, appearing on PBS stations in the U.S. on June 8, 2018. In a July 2018 interview with OC Weekly, bassist Jeff Pilson said that Foreigner has no plans to release a new studio album, but will continue to release singles periodically. On November 9, 2018, all surviving original members of Foreigner came on stage to play alongside the current line-up for a show at Microsoft Theater in Los Angeles, beginning a series of "Foreigner Then and Now" concerts set to run through the end of the year. In October 2019, the group was slated once again to be joined by the surviving original players for a handful of shows as the Double Vision: Then And Now tour. However, on October 2, it was announced that Lou Gramm would not be taking part in these dates due to illness. Foreigner announced a 2020 summer tour with support from Kansas and Europe called "Juke Box Heroes" in reference to the song of the same name. On May 19, 2020, Foreigner announced the band's Juke Box Heroes 2020 Tour was canceled, due to the COVID-19 pandemic. On March 18, 2021, Pilson announced that Thom Gimbel would be departing from the band. Pilson would later confirm on March 20, 2021, that Foreigner are working on new music: "[But] we are working on some music. So I think that what's gonna happen is whatever other things we release in the next couple of years, there will be some new songs added to it. So that's what I see kind of happening. 'Cause we're working on a few that are not that far away. So I would say expect a package deal to have a couple of new songs on it." Jones has been absent from the band's 2021 tour, leaving no members from the original or classic line up. Thus, none of the band's current line up played on the original versions of any songs. It was falsely reported Jones joined the band at their show in New Brunswick, NJ on October 29, 2021 for Hot Blooded; rather, it was former bassist Wills. Band members Current Mick Jones – lead and rhythm guitars, keyboards, backing and lead vocals Jeff Pilson – bass, keyboards, backing vocals Kelly Hansen – lead vocals, percussion Michael Bluestein – keyboards, backing vocals Bruce Watson – rhythm and lead guitars, backing vocals Chris Frazier – drums, percussion Luis Maldonado – rhythm guitar, bass, backing vocals Former Lou Gramm – lead vocals, percussion Dennis Elliott – drums, percussion, occasional backing vocals Ian McDonald – rhythm and lead guitars, keyboards, saxophone, flute, backing vocals Al Greenwood – keyboards, synthesizers Ed Gagliardi – bass, backing vocals Rick Wills – bass, backing vocals Johnny Edwards – lead vocals, rhythm and lead guitars Jeff Jacobs – keyboards, backing vocals Thom Gimbel – rhythm guitar, keyboards, backing vocals, saxophone, flute Mark Schulman – drums, backing vocals Bruce Turgon – bass, backing vocals Scott Garrett – lead vocals Ron Wikso – drums Brian Tichy – drums Denny Carmassi – drums Jason Bonham – drums Chas West – lead vocals Paul Mirkovich – keyboards Jason Sutter – drums Discography Studio albums Foreigner (1977) Double Vision (1978) Head Games (1979) 4 (1981) Agent Provocateur (1984) Inside Information (1987) Unusual Heat (1991) Mr. Moonlight (1994) Can't Slow Down (2009) See also List of best-selling music artists List of number-one hits (United States) List of number-one albums (United States) List of best-selling albums in the United States List of artists who reached number one in the United States List of artists who reached number one on the U.S. Mainstream Rock chart References External links Lou Gramm's official website 1976 establishments in New York (state) American pop rock music groups Atlantic Records artists British hard rock musical groups British pop rock music groups Hard rock musical groups from New York (state) Musical groups established in 1976 Musical groups from London Musical groups from New York City

C_45ba0c390d3e4ee8989340cd07a4f706_0

When did he join the band?

When did Kelly Hansen join Foreigner?

Foreigner (band)

Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004 in Santa Barbara, California at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy with a brand new version of Foreigner that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only and was eventually replaced by former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West briefly continued with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007 - the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. CANNOTANSWER

March 2005, making his debut with the group on March 11

Foreigner is a British-American rock band, originally formed in New York City in 1976 by veteran British guitarist and songwriter Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald, along with American vocalist Lou Gramm. Jones came up with the band's name as he, McDonald and Dennis Elliott were British, whereas Gramm, Al Greenwood and Ed Gagliardi were American. In 1977 Foreigner released its self-titled debut album, the first of four straight albums to be certified at least 5x platinum in the US. Foreigner peaked at No. 4 on the US album chart and in the Top 10 in Canada and Australia, while yielding two Top 10 hits in North America, "Feels Like the First Time" and "Cold as Ice". Their 1978 follow-up, Double Vision, was even more successful peaking at No. 3 in North America with two hit singles, “Hot Blooded” a No. 3 hit in both countries, and the title track, a US No. 2 and a Canadian No. 7. Foreigner's third album, Head Games (1979), went to No. 5 in North America producing two Top 20 singles, including its title track. Reduced to a quartet, their album 4 (1981) hit No. 1 (for 10 weeks) in the US and No. 2 in Canada, while becoming Foreigner's break-through album outside of North America, going Top 5 in the UK, Germany and Australia. Three of 4’s singles were hits: "Urgent" reached No. 1 in Canada and on the new US Rock Tracks chart, rose to No. 4 on the US Hot 100 and became their first Top 15 hit in Germany; the ballad “Waiting for a Girl Like You” peaked at No. 2 in both the US (for a record 10 weeks) and Canada, topped the US Rock Tracks chart and became their first Top 10 hit in the UK and Australia; and "Juke Box Hero" reached No. 3 on the Rock Tracks chart and the Top 30 on the Hot 100. In 1982 Foreigner released its first greatest hits album, Records, which has gone on to sell 7 million copies in the US. In 1984 Foreigner had its biggest hit single, the anthemic ballad "I Want to Know What Love Is", which topped the US, UK, Canadian and Australian charts, while hitting No. 3 in Germany and the Top 10 in numerous other countries. Its source album, Agent Provocateur, was the band's most successful in the UK, Germany and some other countries in Europe, where it peaked at No. 1, and in Australia where it peaked at No. 3, while making the Top 5 in the US and Canada. After a break, Foreigner released Inside Information (1987), which despite the No. 6 US and Australian hit, “Say You Will” (which also rose to No. 1 on the US Rock Tracks chart) and the No. 5 US hit, “I Don’t Want to Live Without You” (which also reached No. 1 on the US Adult Comtemporary chart), had a large sales drop-off, only hitting the Top 10 in a few European countries with a No. 15 peak in the US. The band's most recent albums, Unusual Heat (1991), without Gramm, who departed due to the band's shift towards the use of synthesizers, Mr. Moonlight (1994), with Gramm back on vocals, and Can't Slow Down (2009), once again without Gramm, were not major sellers; the highest chart positions were obtained in Germany, where the last album peaked at No. 16. Foreigner is one of the world's best-selling bands of all time with worldwide sales of more than 80 million records, including 37.5 million in the US. Leader Mick Jones has been for many years the only founding member still involved. Band history Formation, 1976 Since its beginning, Foreigner has been led by English musician Mick Jones (former member of Nero and the Gladiators, Johnny Hallyday's band, Spooky Tooth and The Leslie West Band). After the collapse of the Leslie West Band in 1976, Jones found himself stranded in New York City; West's manager, Bud Prager, encouraged Jones to continue his songwriting and rehearse a band of his own in some space Prager had near his New York office. Jones got together with New York keyboardist Al Greenwood (who had just played with former Flash members Colin Carter and Mike Hough in a group called Storm), drummer Stan Williams and Louisiana bassist Jay Davis (later with Rod Stewart) and began jamming. Another friend, Stories singer Ian Lloyd, was brought in to sing but Jones decided the chemistry was not quite right and retained only Greenwood as he renewed his search for players. During a session for Ian Lloyd's album, Jones met up with transplanted Englishman and ex-King Crimson member Ian McDonald and another session for Ian Hunter unearthed another fellow Brit in drummer Dennis Elliott. But after auditioning about forty or fifty singers, the right vocalist was becoming harder to come by until Jones dragged out an old Black Sheep album given to him backstage at a Spooky Tooth concert a few years prior by that group's lead singer, Lou Gramm. Jones put in a call to Gramm, who was back in his hometown of Rochester, New York, after Black Sheep's break-up, and sent him a plane ticket to New York City. Gramm proved to be the missing piece of the puzzle and Brooklyn bassist Ed Gagliardi completed the new sextet. A name, "Trigger", was tentatively agreed to and was the name that appeared on their demo tape, but it was passed on by all the record companies it was delivered to. John Kalodner, a former journalist and radio programmer who was working in A&R at Atlantic Records, happened to spot a tape on Atlantic president Jerry L. Greenberg's desk with the Trigger identification on it. Kalodner had just been to hear an outfit called Trigger and realized that this was not the same band. He convinced Greenberg that at least one of the songs on the tape could be a big hit and to look into signing this group immediately. Because the Trigger name was already taken, Jones came up with the Foreigner moniker from the fact that no matter what country they were in, three would be foreigners, because he, McDonald and Elliott were English, while Gramm, Greenwood and Gagliardi were American. Debut album, March 1977 In November 1976, after six months of rehearsals, the newly named Foreigner started recording their debut album with producers John Sinclair and Gary Lyons at The Hit Factory but switched to Atlantic Recording Studios where they finished recording the basic tracks and completed the overdubs. The first attempt at mixing the album was done at Sarm Studios, London. But, because of the band's dissatisfaction with the results, the album was re-mixed back at Atlantic by Mick Jones, Ian McDonald and Jimmy Douglass. Bud Prager signed on as the group's manager, a role he would continue in for the next 17 years. The band's debut, Foreigner, was released in March 1977 and was certified for sales of five million copies in the United States, staying in the Top 20 for a year with a peak at No. 4. It also made the Top 10 in both Canada and Australia and went to No. 1 in Norway. Foreigner had three significant hits in North America with "Feels Like the First Time" hitting No. 4 in the US and No. 7 in Canada, "Cold as Ice" reaching No. 6 and No. 9 in the countries and "Long, Long Way from Home" peaking at around No. 20. "Cold as Ice" was also modestly successful in the UK, Australia, the Netherlands and Belgium where it reached the Top 20 or 30. 1977–1990 By May 1977, Foreigner was already headlining theaters and had already scored a gold record for the first album. Not long afterwards, they were selling out U.S. basketball arenas and hockey rinks. After a show at Memorial Hall in Kansas City, Kansas, on May 6, 1977, drummer Elliott injured his hand, prompting the band to call in Ian Wallace (ex-King Crimson) to play alongside Elliott on some of the dates until the hand was healed. After almost a year on the road, the band played before over two hundred thousand people at California Jam II on March 18, 1978, and during the following month, the band toured Europe, Japan and Australia for the first time. Their second album, Double Vision (released in June 1978), co-produced by Keith Olsen, topped their previous, selling seven million records in the US, peaking at No. 3 in both the US and Canada, while dropping to No. 13 in Australia. It was the band's first album to chart in the UK where it peaked at No. 32, but Double Vision (and their next two albums) did not chart in Norway where their debut album had gone No. 1. The album spawned hits that were even more successful in North America than those from their debut album with "Hot Blooded" hitting No. 3 in both countries, the title track "Double Vision" reaching No. 2 in the US and No. 7 in Canada with "Blue Morning, Blue Day" reaching No. 15 and No. 21. Aside from "Hot Blooded" reaching No. 24 in Australia there was little airplay or sales in other countries for the singles from Double Vision or from their next album, Head Games. Album number three, Head Games (September 1979), co-produced by Roy Thomas Baker, which was referred to by Gramm as their "grainiest" album, was also successful, in this case because of the thunderous "Dirty White Boy" and another title track hit "Head Games". Both songs were Top 15 hits in the US and Canada but did not chart in any other counties. The album reached No. 5 in North America but its sales dropped off substantially in Australia (No. 45) without any gains in any other countries. For Head Games, bassist Ed Gagliardi was replaced by Englishman Rick Wills. In his autobiography, Juke Box Hero (named after the seminal Foreigner song), Gramm explains why the band parted ways with Gagliardi: "He was a little headstrong and had his own ideas that weren't always compatible with what we were trying to accomplish. Ed was obstinate at times, playing the song the way he wanted to play it rather than the way it was drawn up. Jones often had to stop sessions to get Ed back on track. After a while it became tiresome and slowed down the recording process." Gramm went on to say that he was disappointed overall with Head Games and thought it sounded unfinished. It ended up selling about two million fewer than its predecessor. In September 1980 co-founders Al Greenwood and Ian McDonald were sacked as Jones wished to have more control over the band and write most of the music (along with Gramm). In his book, Gramm goes on to talk about this difficult time: "The chemistry that made the band right in the beginning didn't necessarily mean it would always be right. I think a pretty major communication lapse appeared and I don't think anybody really knew what anybody was feeling—the deep, inner belief about the direction of the band and how we were progressing. We had reached a point where there was a lot of dissatisfaction". In the liner notes for the 2000 release, Juke Box Heroes: The Foreigner Anthology, Jones went on to elaborate further: "Ian McDonald, who I consider a great musician and multi-instrumentalist, began to focus more and more on guitar playing, while I believed his true talent lay more in the dimensional and creative imagery he gave the first two albums. Al Greenwood, our keyboard wiz and a very important part of the Foreigner sound at the beginning, had also started to focus more on songwriting. Although both their contributions to the band had been vital, a conflict was developing about the musical direction of the band. I just felt we needed to clarify it. So Lou, Rick, Dennis and I made the decision, and that's when we went down to four." And according to McDonald in a 1999 interview, "Mick and Lou decided they wanted to be the focus of the band. Mick wanted to make it more apparent that it was his group, so he decided to make a smaller group. That was his decision. I wouldn't have left—I loved the group, it was not my decision." McDonald noted that there was much creative compromise working in the band and that he did more than he received credit for, much as he did in King Crimson. McDonald stated that "he had a lot to do with the making of those records and the arrangements and the creating of those songs, more than is probably apparent. I did a lot that went uncredited, which I was happy to do though. When you're in a group you must contribute as much as you can. I was happy to do that. But as I said, it maybe didn't appear that I was doing as much as I in fact was. I had a lot to do with that group... as well as... Mick Jones, obviously, and everyone else—I'm not trying to take all the credit, but I'm just saying that I was there, I was involved, and I loved it." The band was now stripped down to a quartet, with session players brought in as needed to record or tour (see below for complete list of members). Greenwood soon joined Gagliardi to form the AOR band Spys, with John Blanco, Billy Milne and John DiGaudio. The band released two albums, an eponymous debut, and the follow-up Behind Enemy Lines. In the meantime, Foreigner began work on the next album at Electric Lady Studios in New York City with producer Robert John "Mutt" Lange, engineered by Dave Wittman (currently with Trans-Siberian Orchestra). 4 (released in July 1981) contained the hits "Urgent" (which includes the famous Junior Walker sax solo), "Waiting for a Girl Like You", "Juke Box Hero" and "Break it Up". Before releasing albums of his own, Thomas Dolby played synthesizers on 4 (he contributed the signature synth sound on "Urgent" and played the intro to "Waiting for a Girl Like You"). 4 became Foreigners first and only No 1. album in the US, spending 10 weeks in that position, and peaked at No. 2 in Canada. It also became the band's break-through album overseas, reaching the Top 5 in the UK, Germany and Australia. The first single, "Urgent" peaked at No. 4 on the US Hot 100 and topped US Album Rock Tracks chart and the Canadian RPM Singles Chart. It also became their biggest hit to date in Germany reaching the Top 15 there, higher than the other singles from the album, but was less successful in Australia, peaking at No. 24 and the UK, where it did not chart. The second single, "Juke Box Hero" was very successful on rock stations in North America, reaching No. 3 on the US Rock Tracks chart, but only reached No. 26 on the US Hot 100 and No. 39 in Canada, while reaching the Top 30 in Germany and France, their first song to chart in the later. The third single released, the power ballad, “Waiting for a Girl Like You”, went to No. 2 on the US Hot 100 for a record 10 consecutive weeks and, like "Urgent", topped the US Rock Tracks chart. It also went to No. 2 in Canada and also became their first single to reach the Top 10 in the UK (No. 8) and Australia (No. 3) while reaching the Top 20 in the Netherlands and Belgium and the Top 30 in Germany and France. For their 1981–82 tour in support of 4, the group added Peter Reilich (keyboards, synthesizers, who had played with Gary Wright), former Peter Frampton band member Bob Mayo (keyboards, synthesizers, guitar, backing vocals) and Mark Rivera (sax, flute, keyboards, synthesizers, guitar, backing vocals). Mayo and Rivera had also appeared on the sessions for 4. Reilich was dropped in May 1982 but Mayo and Rivera continued with the band through 1988. Foreigner's next album, Agent Provocateur, co-produced by Alex Sadkin, was released in December 1984 and in 1985 gave them their first and only No. 1 hit song in the US and several other countries (except for Canada were "Urgent" had done the trick) when "I Want to Know What Love Is", a ballad backed by Jennifer Holliday and the New Jersey Mass Choir, topped the charts in the US (both Hot 100 and Rock Tracks), UK, Canada, Australia, New Zealand, Norway, Sweden, etc. while hitting No. 3 in Germany (their only Top 10 hit there), No. 4 in France (their only Top 20 hit there) and No. 6 in both the Netherlands and Belgium. "That Was Yesterday" was the next single from the album in early 1985 and proved to be another sizable hit reaching No. 12 on the US Hot 100 (No. 4 on Rock Tracks) and the Top 30 in several other countries. The album was equally successful becoming Foreigner's only No. 1 album in the UK, Germany and Norway while reaching No. 3 in Australia (its biggest album there) and Canada, and No. 4 in the US and New Zealand (its biggest album there). It was certified 3x platinum in the US, their lowest selling album to date in that country. During their 1985 summer/fall tour, Foreigner appeared at the first Farm Aid on September 22 in Champaign, Illinois. In between his Foreigner commitments, Jones also started a side career as a producer for such albums as Van Halen's 5150 (1986), Bad Company's Fame and Fortune (1986) and Billy Joel's Storm Front (1989). In December 1987 Foreigner released Inside Information, spawning hits such as "Say You Will" and "I Don't Want to Live Without You". On May 14, 1988, the band headlined Atlantic Records 40th Anniversary concert at Madison Square Garden, culminating with "I Want to Know What Love Is", in which the likes of Phil Collins, Crosby, Stills and Nash, Roberta Flack and other Atlantic artists joined in, singing in the choir. Later during the summer, the band went back on the road but the touring for Inside Information was limited to Europe, Japan and Australia. For this tour, Rivera and Mayo were not available, so Larry Oakes (guitar, keyboards, synthesizers, backing vocals) and Lou Cortelezzi (sax) augmented the quartet of Gramm, Jones, Elliott and Wills. Lead vocalist Gramm's departure, May 1990 In the late 1980s, Jones and Gramm each put out solo efforts on Atlantic. Gramm released Ready or Not in January 1987 and shortly after its release, rehearsals for Foreigner's next album had started but ground to a halt as Gramm's status with the group was uncertain. But after the promotion and concert dates for Gramm's album were finished, cooler heads prevailed and Lou rejoined Foreigner in the studio for Inside Information, which was out at the end of 1987. Jones had Mick Jones in August 1989, then Gramm followed with his second solo release, Long Hard Look (October 1989), and decided to leave the group in May 1990 while preparing to tour behind Long Hard Look as the opener for Steve Miller Band. After finishing this tour, Gramm went on to form the short-lived band Shadow King, which put out one eponymous album on Atlantic in October 1991. Meanwhile, Jones brought in a new lead singer, Johnny Edwards (formerly of the bands Buster Brown, Montrose, King Kobra, Northrup and Wild Horses). Edwards made his first live appearance with Foreigner at the Long Island club Stephen Talkhouse on August 15, 1990, where he, Jones, Dennis Elliott and Rick Wills appeared, joined by special guests Terry Thomas (on guitar, who produced their next album) and Eddie Mack on harmonica. The new edition of Foreigner released the album Unusual Heat in June 1991. This was at the time their worst-selling album and only climbed as high as No. 117 on the Billboard 200, although "Lowdown and Dirty" was a minor mainstream rock hit, reaching No. 4 on that chart. In July 1991 the new lineup of Foreigner played some European dates then made its official U.S. debut on August 9 performing on the second night of a Billy Joel benefit concert at Deep Hollow Ranch in Montauk, New York, to raise funds for the preservation of Montauk Point Lighthouse. For their 1991 tour, Jeff Jacobs, who had played in Joel's band, was brought in as the new keyboardist and Mark Rivera returned. But during the fall leg of this tour, Elliott decided to leave the group after a concert at The Ritz in NYC on November 14, 1991, and embark on a career as a wood sculptor. Larry Aberman was then recruited as a temporary replacement until Mark Schulman arrived in 1992 as drummer for the next three years. Scott Gilman (guitar, sax, flute) joined the touring band in 1992 and Thom Gimbel took over from Gilman and Rivera in late 1992 after they departed. When Gimbel went to Aerosmith in 1993, Gilman returned to handle the guitar/sax/flute duties until Gimbel came back permanently in the spring of 1995. Gramm returns, 1992 During the Los Angeles riots, inside the confines of the Sunset Marquis Hotel in West Hollywood, where Mick Jones had gone to meet with Lou Gramm, they both ended up sequestered by a city curfew. They decided to use their time together resurrecting their partnership. "I flew to Los Angeles, during the riots," says Gramm. "We got flown to John Wayne Airport instead of LAX because they were shooting at the planes. Mick and I were holed up in the Sunset Marquis in L.A., with armed security guards walking around on the roof. It was a little weird, to say the least." Gramm ended up rejoining Foreigner, bringing along his Shadow King bandmate bassist Bruce Turgon to replace bassist Wills (who'd left after the band's 1991 tour after a falling out with Jones) and co-produced the band's second greatest hits album, The Very Best ... and Beyond (September 1992), which included three new songs. 1994–2003 In October 1994 Foreigner released what was supposed to be a comeback album, Mr. Moonlight, in Japan. Featuring new drummer Mark Schulman and augmented by a fifth member, keyboardist Jeff Jacobs, this album was not released in the U.S. until February 1995 and fared even worse than Unusual Heat. It only peaked at No. 136 on the Billboard 200, although the ballad "Until the End of Time" was a minor hit, reaching No. 42 on the Billboard Hot 100. In January 1995 Ron Wikso (who had played in The Storm with former Journey members Gregg Rolie and Ross Valory) took over percussion duties from Schulman, and Brian Tichy succeeded Wikso in 1998 before Schulman would return in 2000. In 1997 Gramm underwent surgery to remove a brain tumor. The medications he was prescribed caused considerable weight gain and weakened his singing voice. By 1998, the band was back on the road, but Gramm was visibly struggling and it would take him several years to get back to the point where he felt comfortable on stage. In the summer of 1999, Foreigner went on tour as the opening act for Journey and the following summer, Jeff Jacobs had to leave the road for a short time during the band's 2000 summer tour while his wife was giving birth to their child. Keyboardist John Purdell (who had been co-producer of the new tracks on their 1992 album The Very Best of ... and Beyond) stepped in to sub for Jacobs until he was able to return. Vocalist Scott Garrett of the tribute band "Cold as ice" stepped in for Gramm on lead vocals. In 2001 the Warner Music Group selected Foreigner and 4 to be among the first group of albums from their catalog to be remastered, enhanced and released in the new DVD Audio format. In 2002 the 25th Anniversary Year brought affirmation of the enduring respect for Foreigner recordings with Rhino Entertainment reissuing the 1977 to 1981 multi-platinum albums in special enhanced formats. Foreigner, Double Vision, Head Games and 4 received the attention of Rhino's staff with new photos, liner notes and bonus tracks of previously unreleased material. New greatest hits albums were also produced in the U.S. and in Europe. The U.S. version reached No. 80 on the Billboard 200 Album chart. For the group's 25th Anniversary Tour in 2002, they were joined by former Heart and Montrose beat keeper Denny Carmassi. In late October/early November, then December, of 2002, Foreigner played in Belgium and Germany at the annual Night of the Proms festival. It was the last time that Lou Gramm and Mick Jones would play together until June 2013. Gramm would leave the group in early 2003. Jones stated that he and Gramm split because they weren't communicating: "I think we really tried hard to save it, but it got to the point when we both realized that to go on would be detrimental for both of us." New lead vocalist Kelly Hansen, March 2005 Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004, in Santa Barbara, California, at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy dubbed "Mick Jones & Friends" that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only. Inspired by the event and further encouraged by Jason Bonham, Jones continued the search for a new frontman. He would eventually find former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West appeared briefly with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Can't Slow Down, Jones' health issues, and Acoustique (2007–2012) Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007—the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. Foreigner released a new album on September 29, 2009, titled Can't Slow Down. It was one of several recent classic rock releases (AC/DC, the Eagles, Journey and Kiss being four others) to be released exclusively through the Walmart stores chain in the US, while in Europe the album was released by earMUSIC (a label part of the Edel group), charting top 20 in Germany (16) and Top 30 in Switzerland. Can't Slow Down debuted at No. 29 on the Billboard 200. The first two singles from the album, "When It Comes to Love" and "In Pieces" both reached the Top 20 on Billboard's Adult Contemporary chart. In 2010 it was awarded a gold certification from the Independent Music Companies Association, which indicated sales of at least 100,000 copies throughout Europe. In early 2010, Foreigner teamed up with Styx and Kansas for the United in Rock Tour. On May 4, 2010, it was announced that Brian Tichy's replacement as drummer would be Jason Sutter. Jason Sutter's time with the band was short as he left by 2011. Mark Schulman then returned to Foreigner for his third go-round as drummer. On February 20, 2011, the band played for the first time in Bangalore, India along with sitar player Niladri Kumar. In June 2011 Foreigner (again along with Styx) co-headlined with Journey on their UK tour. After this, they joined up with Journey and Night Ranger on a triple bill summer/fall tour of the US. For some dates of this tour, Brian Tichy filled in for Foreigner's drummer Mark Schulman when he was not available. From August 19 to September 10, 2011, Night Ranger guitarist Joel Hoekstra did double duty playing for NR as well as subbing for Jones, who had taken ill. Right after this, guitarist Bruce Watson (ex-Rod Stewart) was brought in as Jones' stand-in for the tour's remaining dates and continued to tour with the group when they hit the road again in February 2012 after Jones underwent aortoiliac bypass surgery in Miami. On October 4, 2011, Foreigner released Acoustique, which presented their best and most famous songs, along with some newer tracks, recorded in stripped-down acoustic mode. In May 2012 after being diagnosed with colorectal cancer, Bluestein was forced to take a leave of absence from the band. His stand in on keyboards was Ollie Marland. Bluestein was able to return to the group in August 2012 and Tichy once again rejoined in the interim until his schedule with Whitesnake called him away. In September 2012, the man Tichy replaced in Whitesnake, Chris Frazier, became Foreigner's new percussionist. On August 31, 2012, after over a year away, Jones returned to the concert stage at Atlanta's Chastain Park. Guitarist Watson, in the meantime, stayed on until Jones was able to return to full health. At this very same show, keyboardist Derek Hilland (ex-Iron Butterfly, Whitesnake and Rick Springfield) came on board to sub for Bluestein for the group's late summer/fall tour dates and again during the winter/spring of 2013 until Bluestein was able to return. 2013–present On January 9, 2013, the band's original drummer, Dennis Elliott, joined Foreigner on stage at the Hard Rock Cafe in Hollywood, Florida, to play on "Hot Blooded". In addition to touring small clubs and venues, the band frequently is engaged for private parties and conventions, including playing at SeaWorld in Orlando for an IBM Rational Conference (June 6, 2012), at the Gaylord convention center in Washington, D.C., for the Teradata Partners 2012 conference (October 25, 2012) and at SAP's Field Kickoff Meeting in Las Vegas (January 23, 2013). On June 13, 2013, at the 44th Annual Songwriters Hall of Fame Award Ceremony, Jones and Gramm were officially inducted to the Songwriters Hall of Fame. Billy Joel was on hand to induct Jones and Gramm, singing snippets of Foreigner's hits in his introduction speech. Jones said he was proud as the honor makes his work "legit". The duo then took stage one more time and, along with Thom Gimbel and the house band, performed "Juke Box Hero" and "I Want to Know What Love Is" with Anthony Morgan's Inspirational Choir of Harlem—a performance that brought the entire audience to its feet. In 2014 Foreigner teamed up with Styx and former Eagles guitarist Don Felder for the Soundtrack of Summer Tour. Original bassist Ed Gagliardi died on May 11, 2014, aged 62, after an eight-year battle with cancer. Although discussions of an original member reunion had been proposed, the original band had not performed together since 1979. On June 18, 2014, Foreigner teamed up with the Brockton High School concert choir at the Leader Bank Pavilion in Boston, MA. They performed one of their greatest hits: I Want To Know What Love Is. On January 12, 2015, in Sarasota, Florida, Foreigner were joined on stage by original drummer Dennis Elliott and former bassist Rick Wills to play "Hot Blooded". In Hartford, Connecticut, on June 24, 2015, Foreigner began a summer tour as the opening act for Kid Rock. Foreigner appeared on the "Today Show" on February 11, 2016, along with the choir from Our Lady of Mercy Academy to promote their Acoustic Tour and the release of their new album, In Concert: Unplugged. On Saturday September 24, 2016, Foreigner performed before an estimated 20,000+ people at the 100th anniversary of the Durham Fair in Durham, Connecticut. The encore song "I Want to Know What Love Is" utilized the local Coginchaug High School concert choir for backup—their performance having been rehearsed with the band via Skype during the previous months. In a 2016 interview, Jones talked about a possible 40th-anniversary reunion tour, featuring the Head Games-era lineup: "It's quite possible. We've actually been talking about it. I'm not at a point where I can say it's definitely gonna happen, but we're all working on trying to make it happen. It's kind of exciting. And hopefully it'll be feasible and possible to pull it off next year (2017). Lou (Gramm) and I have communicated and we've kept up a sort of loose communication as I have actually also with Ian McDonald, Al Greenwood, Dennis Elliott and Rick Wills. We're at the early stages, but we're trying to put something together to commemorate (it's scary when I say it) 40 years." On November 25, 2016, in celebration of their 40th anniversary, Foreigner released a limited-edition 10-inch vinyl EP, The Flame Still Burns, on Rhino Records for Record Store Day's Black Friday event. The EP's track listing contained the title song (which had previously appeared on Foreigner's Acoustique album and had earlier been featured in the 1998 film Still Crazy) plus live unplugged versions of "Feels Like The First Time", "Long, Long Way From Home" and "Juke Box Hero". On July 20, 2017, at Jones Beach Theater in New York, the current Foreigner lineup were joined for their encore by Lou Gramm, Ian McDonald and Al Greenwood to help celebrate the band's 40th anniversary and Greenwood and McDonald came back the following year to take the stage with the group for their Jones Beach show on June 22, 2018. Dennis Elliott likewise joined his old mates for two songs at Foreigner's show on August 2, 2017, at MidFlorida Credit Union Amphitheatre in Tampa, Florida. Another reunion was announced for a pair of shows to take place on October 6–7, 2017, at the Soaring Eagle Casino & Resort in Mount Pleasant, Michigan, where the group was set to be joined again by Lou Gramm, Dennis Elliott, Al Greenwood, Ian McDonald and Rick Wills. The concerts were filmed for future release, appearing on PBS stations in the U.S. on June 8, 2018. In a July 2018 interview with OC Weekly, bassist Jeff Pilson said that Foreigner has no plans to release a new studio album, but will continue to release singles periodically. On November 9, 2018, all surviving original members of Foreigner came on stage to play alongside the current line-up for a show at Microsoft Theater in Los Angeles, beginning a series of "Foreigner Then and Now" concerts set to run through the end of the year. In October 2019, the group was slated once again to be joined by the surviving original players for a handful of shows as the Double Vision: Then And Now tour. However, on October 2, it was announced that Lou Gramm would not be taking part in these dates due to illness. Foreigner announced a 2020 summer tour with support from Kansas and Europe called "Juke Box Heroes" in reference to the song of the same name. On May 19, 2020, Foreigner announced the band's Juke Box Heroes 2020 Tour was canceled, due to the COVID-19 pandemic. On March 18, 2021, Pilson announced that Thom Gimbel would be departing from the band. Pilson would later confirm on March 20, 2021, that Foreigner are working on new music: "[But] we are working on some music. So I think that what's gonna happen is whatever other things we release in the next couple of years, there will be some new songs added to it. So that's what I see kind of happening. 'Cause we're working on a few that are not that far away. So I would say expect a package deal to have a couple of new songs on it." Jones has been absent from the band's 2021 tour, leaving no members from the original or classic line up. Thus, none of the band's current line up played on the original versions of any songs. It was falsely reported Jones joined the band at their show in New Brunswick, NJ on October 29, 2021 for Hot Blooded; rather, it was former bassist Wills. Band members Current Mick Jones – lead and rhythm guitars, keyboards, backing and lead vocals Jeff Pilson – bass, keyboards, backing vocals Kelly Hansen – lead vocals, percussion Michael Bluestein – keyboards, backing vocals Bruce Watson – rhythm and lead guitars, backing vocals Chris Frazier – drums, percussion Luis Maldonado – rhythm guitar, bass, backing vocals Former Lou Gramm – lead vocals, percussion Dennis Elliott – drums, percussion, occasional backing vocals Ian McDonald – rhythm and lead guitars, keyboards, saxophone, flute, backing vocals Al Greenwood – keyboards, synthesizers Ed Gagliardi – bass, backing vocals Rick Wills – bass, backing vocals Johnny Edwards – lead vocals, rhythm and lead guitars Jeff Jacobs – keyboards, backing vocals Thom Gimbel – rhythm guitar, keyboards, backing vocals, saxophone, flute Mark Schulman – drums, backing vocals Bruce Turgon – bass, backing vocals Scott Garrett – lead vocals Ron Wikso – drums Brian Tichy – drums Denny Carmassi – drums Jason Bonham – drums Chas West – lead vocals Paul Mirkovich – keyboards Jason Sutter – drums Discography Studio albums Foreigner (1977) Double Vision (1978) Head Games (1979) 4 (1981) Agent Provocateur (1984) Inside Information (1987) Unusual Heat (1991) Mr. Moonlight (1994) Can't Slow Down (2009) See also List of best-selling music artists List of number-one hits (United States) List of number-one albums (United States) List of best-selling albums in the United States List of artists who reached number one in the United States List of artists who reached number one on the U.S. Mainstream Rock chart References External links Lou Gramm's official website 1976 establishments in New York (state) American pop rock music groups Atlantic Records artists British hard rock musical groups British pop rock music groups Hard rock musical groups from New York (state) Musical groups established in 1976 Musical groups from London Musical groups from New York City

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Who did he replace?

Who did Kelly Hansen replace in Foreigner?

Foreigner (band)

Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004 in Santa Barbara, California at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy with a brand new version of Foreigner that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only and was eventually replaced by former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West briefly continued with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007 - the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. CANNOTANSWER

Jones, the founder and only remaining original member of Foreigner,

Foreigner is a British-American rock band, originally formed in New York City in 1976 by veteran British guitarist and songwriter Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald, along with American vocalist Lou Gramm. Jones came up with the band's name as he, McDonald and Dennis Elliott were British, whereas Gramm, Al Greenwood and Ed Gagliardi were American. In 1977 Foreigner released its self-titled debut album, the first of four straight albums to be certified at least 5x platinum in the US. Foreigner peaked at No. 4 on the US album chart and in the Top 10 in Canada and Australia, while yielding two Top 10 hits in North America, "Feels Like the First Time" and "Cold as Ice". Their 1978 follow-up, Double Vision, was even more successful peaking at No. 3 in North America with two hit singles, “Hot Blooded” a No. 3 hit in both countries, and the title track, a US No. 2 and a Canadian No. 7. Foreigner's third album, Head Games (1979), went to No. 5 in North America producing two Top 20 singles, including its title track. Reduced to a quartet, their album 4 (1981) hit No. 1 (for 10 weeks) in the US and No. 2 in Canada, while becoming Foreigner's break-through album outside of North America, going Top 5 in the UK, Germany and Australia. Three of 4’s singles were hits: "Urgent" reached No. 1 in Canada and on the new US Rock Tracks chart, rose to No. 4 on the US Hot 100 and became their first Top 15 hit in Germany; the ballad “Waiting for a Girl Like You” peaked at No. 2 in both the US (for a record 10 weeks) and Canada, topped the US Rock Tracks chart and became their first Top 10 hit in the UK and Australia; and "Juke Box Hero" reached No. 3 on the Rock Tracks chart and the Top 30 on the Hot 100. In 1982 Foreigner released its first greatest hits album, Records, which has gone on to sell 7 million copies in the US. In 1984 Foreigner had its biggest hit single, the anthemic ballad "I Want to Know What Love Is", which topped the US, UK, Canadian and Australian charts, while hitting No. 3 in Germany and the Top 10 in numerous other countries. Its source album, Agent Provocateur, was the band's most successful in the UK, Germany and some other countries in Europe, where it peaked at No. 1, and in Australia where it peaked at No. 3, while making the Top 5 in the US and Canada. After a break, Foreigner released Inside Information (1987), which despite the No. 6 US and Australian hit, “Say You Will” (which also rose to No. 1 on the US Rock Tracks chart) and the No. 5 US hit, “I Don’t Want to Live Without You” (which also reached No. 1 on the US Adult Comtemporary chart), had a large sales drop-off, only hitting the Top 10 in a few European countries with a No. 15 peak in the US. The band's most recent albums, Unusual Heat (1991), without Gramm, who departed due to the band's shift towards the use of synthesizers, Mr. Moonlight (1994), with Gramm back on vocals, and Can't Slow Down (2009), once again without Gramm, were not major sellers; the highest chart positions were obtained in Germany, where the last album peaked at No. 16. Foreigner is one of the world's best-selling bands of all time with worldwide sales of more than 80 million records, including 37.5 million in the US. Leader Mick Jones has been for many years the only founding member still involved. Band history Formation, 1976 Since its beginning, Foreigner has been led by English musician Mick Jones (former member of Nero and the Gladiators, Johnny Hallyday's band, Spooky Tooth and The Leslie West Band). After the collapse of the Leslie West Band in 1976, Jones found himself stranded in New York City; West's manager, Bud Prager, encouraged Jones to continue his songwriting and rehearse a band of his own in some space Prager had near his New York office. Jones got together with New York keyboardist Al Greenwood (who had just played with former Flash members Colin Carter and Mike Hough in a group called Storm), drummer Stan Williams and Louisiana bassist Jay Davis (later with Rod Stewart) and began jamming. Another friend, Stories singer Ian Lloyd, was brought in to sing but Jones decided the chemistry was not quite right and retained only Greenwood as he renewed his search for players. During a session for Ian Lloyd's album, Jones met up with transplanted Englishman and ex-King Crimson member Ian McDonald and another session for Ian Hunter unearthed another fellow Brit in drummer Dennis Elliott. But after auditioning about forty or fifty singers, the right vocalist was becoming harder to come by until Jones dragged out an old Black Sheep album given to him backstage at a Spooky Tooth concert a few years prior by that group's lead singer, Lou Gramm. Jones put in a call to Gramm, who was back in his hometown of Rochester, New York, after Black Sheep's break-up, and sent him a plane ticket to New York City. Gramm proved to be the missing piece of the puzzle and Brooklyn bassist Ed Gagliardi completed the new sextet. A name, "Trigger", was tentatively agreed to and was the name that appeared on their demo tape, but it was passed on by all the record companies it was delivered to. John Kalodner, a former journalist and radio programmer who was working in A&R at Atlantic Records, happened to spot a tape on Atlantic president Jerry L. Greenberg's desk with the Trigger identification on it. Kalodner had just been to hear an outfit called Trigger and realized that this was not the same band. He convinced Greenberg that at least one of the songs on the tape could be a big hit and to look into signing this group immediately. Because the Trigger name was already taken, Jones came up with the Foreigner moniker from the fact that no matter what country they were in, three would be foreigners, because he, McDonald and Elliott were English, while Gramm, Greenwood and Gagliardi were American. Debut album, March 1977 In November 1976, after six months of rehearsals, the newly named Foreigner started recording their debut album with producers John Sinclair and Gary Lyons at The Hit Factory but switched to Atlantic Recording Studios where they finished recording the basic tracks and completed the overdubs. The first attempt at mixing the album was done at Sarm Studios, London. But, because of the band's dissatisfaction with the results, the album was re-mixed back at Atlantic by Mick Jones, Ian McDonald and Jimmy Douglass. Bud Prager signed on as the group's manager, a role he would continue in for the next 17 years. The band's debut, Foreigner, was released in March 1977 and was certified for sales of five million copies in the United States, staying in the Top 20 for a year with a peak at No. 4. It also made the Top 10 in both Canada and Australia and went to No. 1 in Norway. Foreigner had three significant hits in North America with "Feels Like the First Time" hitting No. 4 in the US and No. 7 in Canada, "Cold as Ice" reaching No. 6 and No. 9 in the countries and "Long, Long Way from Home" peaking at around No. 20. "Cold as Ice" was also modestly successful in the UK, Australia, the Netherlands and Belgium where it reached the Top 20 or 30. 1977–1990 By May 1977, Foreigner was already headlining theaters and had already scored a gold record for the first album. Not long afterwards, they were selling out U.S. basketball arenas and hockey rinks. After a show at Memorial Hall in Kansas City, Kansas, on May 6, 1977, drummer Elliott injured his hand, prompting the band to call in Ian Wallace (ex-King Crimson) to play alongside Elliott on some of the dates until the hand was healed. After almost a year on the road, the band played before over two hundred thousand people at California Jam II on March 18, 1978, and during the following month, the band toured Europe, Japan and Australia for the first time. Their second album, Double Vision (released in June 1978), co-produced by Keith Olsen, topped their previous, selling seven million records in the US, peaking at No. 3 in both the US and Canada, while dropping to No. 13 in Australia. It was the band's first album to chart in the UK where it peaked at No. 32, but Double Vision (and their next two albums) did not chart in Norway where their debut album had gone No. 1. The album spawned hits that were even more successful in North America than those from their debut album with "Hot Blooded" hitting No. 3 in both countries, the title track "Double Vision" reaching No. 2 in the US and No. 7 in Canada with "Blue Morning, Blue Day" reaching No. 15 and No. 21. Aside from "Hot Blooded" reaching No. 24 in Australia there was little airplay or sales in other countries for the singles from Double Vision or from their next album, Head Games. Album number three, Head Games (September 1979), co-produced by Roy Thomas Baker, which was referred to by Gramm as their "grainiest" album, was also successful, in this case because of the thunderous "Dirty White Boy" and another title track hit "Head Games". Both songs were Top 15 hits in the US and Canada but did not chart in any other counties. The album reached No. 5 in North America but its sales dropped off substantially in Australia (No. 45) without any gains in any other countries. For Head Games, bassist Ed Gagliardi was replaced by Englishman Rick Wills. In his autobiography, Juke Box Hero (named after the seminal Foreigner song), Gramm explains why the band parted ways with Gagliardi: "He was a little headstrong and had his own ideas that weren't always compatible with what we were trying to accomplish. Ed was obstinate at times, playing the song the way he wanted to play it rather than the way it was drawn up. Jones often had to stop sessions to get Ed back on track. After a while it became tiresome and slowed down the recording process." Gramm went on to say that he was disappointed overall with Head Games and thought it sounded unfinished. It ended up selling about two million fewer than its predecessor. In September 1980 co-founders Al Greenwood and Ian McDonald were sacked as Jones wished to have more control over the band and write most of the music (along with Gramm). In his book, Gramm goes on to talk about this difficult time: "The chemistry that made the band right in the beginning didn't necessarily mean it would always be right. I think a pretty major communication lapse appeared and I don't think anybody really knew what anybody was feeling—the deep, inner belief about the direction of the band and how we were progressing. We had reached a point where there was a lot of dissatisfaction". In the liner notes for the 2000 release, Juke Box Heroes: The Foreigner Anthology, Jones went on to elaborate further: "Ian McDonald, who I consider a great musician and multi-instrumentalist, began to focus more and more on guitar playing, while I believed his true talent lay more in the dimensional and creative imagery he gave the first two albums. Al Greenwood, our keyboard wiz and a very important part of the Foreigner sound at the beginning, had also started to focus more on songwriting. Although both their contributions to the band had been vital, a conflict was developing about the musical direction of the band. I just felt we needed to clarify it. So Lou, Rick, Dennis and I made the decision, and that's when we went down to four." And according to McDonald in a 1999 interview, "Mick and Lou decided they wanted to be the focus of the band. Mick wanted to make it more apparent that it was his group, so he decided to make a smaller group. That was his decision. I wouldn't have left—I loved the group, it was not my decision." McDonald noted that there was much creative compromise working in the band and that he did more than he received credit for, much as he did in King Crimson. McDonald stated that "he had a lot to do with the making of those records and the arrangements and the creating of those songs, more than is probably apparent. I did a lot that went uncredited, which I was happy to do though. When you're in a group you must contribute as much as you can. I was happy to do that. But as I said, it maybe didn't appear that I was doing as much as I in fact was. I had a lot to do with that group... as well as... Mick Jones, obviously, and everyone else—I'm not trying to take all the credit, but I'm just saying that I was there, I was involved, and I loved it." The band was now stripped down to a quartet, with session players brought in as needed to record or tour (see below for complete list of members). Greenwood soon joined Gagliardi to form the AOR band Spys, with John Blanco, Billy Milne and John DiGaudio. The band released two albums, an eponymous debut, and the follow-up Behind Enemy Lines. In the meantime, Foreigner began work on the next album at Electric Lady Studios in New York City with producer Robert John "Mutt" Lange, engineered by Dave Wittman (currently with Trans-Siberian Orchestra). 4 (released in July 1981) contained the hits "Urgent" (which includes the famous Junior Walker sax solo), "Waiting for a Girl Like You", "Juke Box Hero" and "Break it Up". Before releasing albums of his own, Thomas Dolby played synthesizers on 4 (he contributed the signature synth sound on "Urgent" and played the intro to "Waiting for a Girl Like You"). 4 became Foreigners first and only No 1. album in the US, spending 10 weeks in that position, and peaked at No. 2 in Canada. It also became the band's break-through album overseas, reaching the Top 5 in the UK, Germany and Australia. The first single, "Urgent" peaked at No. 4 on the US Hot 100 and topped US Album Rock Tracks chart and the Canadian RPM Singles Chart. It also became their biggest hit to date in Germany reaching the Top 15 there, higher than the other singles from the album, but was less successful in Australia, peaking at No. 24 and the UK, where it did not chart. The second single, "Juke Box Hero" was very successful on rock stations in North America, reaching No. 3 on the US Rock Tracks chart, but only reached No. 26 on the US Hot 100 and No. 39 in Canada, while reaching the Top 30 in Germany and France, their first song to chart in the later. The third single released, the power ballad, “Waiting for a Girl Like You”, went to No. 2 on the US Hot 100 for a record 10 consecutive weeks and, like "Urgent", topped the US Rock Tracks chart. It also went to No. 2 in Canada and also became their first single to reach the Top 10 in the UK (No. 8) and Australia (No. 3) while reaching the Top 20 in the Netherlands and Belgium and the Top 30 in Germany and France. For their 1981–82 tour in support of 4, the group added Peter Reilich (keyboards, synthesizers, who had played with Gary Wright), former Peter Frampton band member Bob Mayo (keyboards, synthesizers, guitar, backing vocals) and Mark Rivera (sax, flute, keyboards, synthesizers, guitar, backing vocals). Mayo and Rivera had also appeared on the sessions for 4. Reilich was dropped in May 1982 but Mayo and Rivera continued with the band through 1988. Foreigner's next album, Agent Provocateur, co-produced by Alex Sadkin, was released in December 1984 and in 1985 gave them their first and only No. 1 hit song in the US and several other countries (except for Canada were "Urgent" had done the trick) when "I Want to Know What Love Is", a ballad backed by Jennifer Holliday and the New Jersey Mass Choir, topped the charts in the US (both Hot 100 and Rock Tracks), UK, Canada, Australia, New Zealand, Norway, Sweden, etc. while hitting No. 3 in Germany (their only Top 10 hit there), No. 4 in France (their only Top 20 hit there) and No. 6 in both the Netherlands and Belgium. "That Was Yesterday" was the next single from the album in early 1985 and proved to be another sizable hit reaching No. 12 on the US Hot 100 (No. 4 on Rock Tracks) and the Top 30 in several other countries. The album was equally successful becoming Foreigner's only No. 1 album in the UK, Germany and Norway while reaching No. 3 in Australia (its biggest album there) and Canada, and No. 4 in the US and New Zealand (its biggest album there). It was certified 3x platinum in the US, their lowest selling album to date in that country. During their 1985 summer/fall tour, Foreigner appeared at the first Farm Aid on September 22 in Champaign, Illinois. In between his Foreigner commitments, Jones also started a side career as a producer for such albums as Van Halen's 5150 (1986), Bad Company's Fame and Fortune (1986) and Billy Joel's Storm Front (1989). In December 1987 Foreigner released Inside Information, spawning hits such as "Say You Will" and "I Don't Want to Live Without You". On May 14, 1988, the band headlined Atlantic Records 40th Anniversary concert at Madison Square Garden, culminating with "I Want to Know What Love Is", in which the likes of Phil Collins, Crosby, Stills and Nash, Roberta Flack and other Atlantic artists joined in, singing in the choir. Later during the summer, the band went back on the road but the touring for Inside Information was limited to Europe, Japan and Australia. For this tour, Rivera and Mayo were not available, so Larry Oakes (guitar, keyboards, synthesizers, backing vocals) and Lou Cortelezzi (sax) augmented the quartet of Gramm, Jones, Elliott and Wills. Lead vocalist Gramm's departure, May 1990 In the late 1980s, Jones and Gramm each put out solo efforts on Atlantic. Gramm released Ready or Not in January 1987 and shortly after its release, rehearsals for Foreigner's next album had started but ground to a halt as Gramm's status with the group was uncertain. But after the promotion and concert dates for Gramm's album were finished, cooler heads prevailed and Lou rejoined Foreigner in the studio for Inside Information, which was out at the end of 1987. Jones had Mick Jones in August 1989, then Gramm followed with his second solo release, Long Hard Look (October 1989), and decided to leave the group in May 1990 while preparing to tour behind Long Hard Look as the opener for Steve Miller Band. After finishing this tour, Gramm went on to form the short-lived band Shadow King, which put out one eponymous album on Atlantic in October 1991. Meanwhile, Jones brought in a new lead singer, Johnny Edwards (formerly of the bands Buster Brown, Montrose, King Kobra, Northrup and Wild Horses). Edwards made his first live appearance with Foreigner at the Long Island club Stephen Talkhouse on August 15, 1990, where he, Jones, Dennis Elliott and Rick Wills appeared, joined by special guests Terry Thomas (on guitar, who produced their next album) and Eddie Mack on harmonica. The new edition of Foreigner released the album Unusual Heat in June 1991. This was at the time their worst-selling album and only climbed as high as No. 117 on the Billboard 200, although "Lowdown and Dirty" was a minor mainstream rock hit, reaching No. 4 on that chart. In July 1991 the new lineup of Foreigner played some European dates then made its official U.S. debut on August 9 performing on the second night of a Billy Joel benefit concert at Deep Hollow Ranch in Montauk, New York, to raise funds for the preservation of Montauk Point Lighthouse. For their 1991 tour, Jeff Jacobs, who had played in Joel's band, was brought in as the new keyboardist and Mark Rivera returned. But during the fall leg of this tour, Elliott decided to leave the group after a concert at The Ritz in NYC on November 14, 1991, and embark on a career as a wood sculptor. Larry Aberman was then recruited as a temporary replacement until Mark Schulman arrived in 1992 as drummer for the next three years. Scott Gilman (guitar, sax, flute) joined the touring band in 1992 and Thom Gimbel took over from Gilman and Rivera in late 1992 after they departed. When Gimbel went to Aerosmith in 1993, Gilman returned to handle the guitar/sax/flute duties until Gimbel came back permanently in the spring of 1995. Gramm returns, 1992 During the Los Angeles riots, inside the confines of the Sunset Marquis Hotel in West Hollywood, where Mick Jones had gone to meet with Lou Gramm, they both ended up sequestered by a city curfew. They decided to use their time together resurrecting their partnership. "I flew to Los Angeles, during the riots," says Gramm. "We got flown to John Wayne Airport instead of LAX because they were shooting at the planes. Mick and I were holed up in the Sunset Marquis in L.A., with armed security guards walking around on the roof. It was a little weird, to say the least." Gramm ended up rejoining Foreigner, bringing along his Shadow King bandmate bassist Bruce Turgon to replace bassist Wills (who'd left after the band's 1991 tour after a falling out with Jones) and co-produced the band's second greatest hits album, The Very Best ... and Beyond (September 1992), which included three new songs. 1994–2003 In October 1994 Foreigner released what was supposed to be a comeback album, Mr. Moonlight, in Japan. Featuring new drummer Mark Schulman and augmented by a fifth member, keyboardist Jeff Jacobs, this album was not released in the U.S. until February 1995 and fared even worse than Unusual Heat. It only peaked at No. 136 on the Billboard 200, although the ballad "Until the End of Time" was a minor hit, reaching No. 42 on the Billboard Hot 100. In January 1995 Ron Wikso (who had played in The Storm with former Journey members Gregg Rolie and Ross Valory) took over percussion duties from Schulman, and Brian Tichy succeeded Wikso in 1998 before Schulman would return in 2000. In 1997 Gramm underwent surgery to remove a brain tumor. The medications he was prescribed caused considerable weight gain and weakened his singing voice. By 1998, the band was back on the road, but Gramm was visibly struggling and it would take him several years to get back to the point where he felt comfortable on stage. In the summer of 1999, Foreigner went on tour as the opening act for Journey and the following summer, Jeff Jacobs had to leave the road for a short time during the band's 2000 summer tour while his wife was giving birth to their child. Keyboardist John Purdell (who had been co-producer of the new tracks on their 1992 album The Very Best of ... and Beyond) stepped in to sub for Jacobs until he was able to return. Vocalist Scott Garrett of the tribute band "Cold as ice" stepped in for Gramm on lead vocals. In 2001 the Warner Music Group selected Foreigner and 4 to be among the first group of albums from their catalog to be remastered, enhanced and released in the new DVD Audio format. In 2002 the 25th Anniversary Year brought affirmation of the enduring respect for Foreigner recordings with Rhino Entertainment reissuing the 1977 to 1981 multi-platinum albums in special enhanced formats. Foreigner, Double Vision, Head Games and 4 received the attention of Rhino's staff with new photos, liner notes and bonus tracks of previously unreleased material. New greatest hits albums were also produced in the U.S. and in Europe. The U.S. version reached No. 80 on the Billboard 200 Album chart. For the group's 25th Anniversary Tour in 2002, they were joined by former Heart and Montrose beat keeper Denny Carmassi. In late October/early November, then December, of 2002, Foreigner played in Belgium and Germany at the annual Night of the Proms festival. It was the last time that Lou Gramm and Mick Jones would play together until June 2013. Gramm would leave the group in early 2003. Jones stated that he and Gramm split because they weren't communicating: "I think we really tried hard to save it, but it got to the point when we both realized that to go on would be detrimental for both of us." New lead vocalist Kelly Hansen, March 2005 Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004, in Santa Barbara, California, at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy dubbed "Mick Jones & Friends" that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only. Inspired by the event and further encouraged by Jason Bonham, Jones continued the search for a new frontman. He would eventually find former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West appeared briefly with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Can't Slow Down, Jones' health issues, and Acoustique (2007–2012) Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007—the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. Foreigner released a new album on September 29, 2009, titled Can't Slow Down. It was one of several recent classic rock releases (AC/DC, the Eagles, Journey and Kiss being four others) to be released exclusively through the Walmart stores chain in the US, while in Europe the album was released by earMUSIC (a label part of the Edel group), charting top 20 in Germany (16) and Top 30 in Switzerland. Can't Slow Down debuted at No. 29 on the Billboard 200. The first two singles from the album, "When It Comes to Love" and "In Pieces" both reached the Top 20 on Billboard's Adult Contemporary chart. In 2010 it was awarded a gold certification from the Independent Music Companies Association, which indicated sales of at least 100,000 copies throughout Europe. In early 2010, Foreigner teamed up with Styx and Kansas for the United in Rock Tour. On May 4, 2010, it was announced that Brian Tichy's replacement as drummer would be Jason Sutter. Jason Sutter's time with the band was short as he left by 2011. Mark Schulman then returned to Foreigner for his third go-round as drummer. On February 20, 2011, the band played for the first time in Bangalore, India along with sitar player Niladri Kumar. In June 2011 Foreigner (again along with Styx) co-headlined with Journey on their UK tour. After this, they joined up with Journey and Night Ranger on a triple bill summer/fall tour of the US. For some dates of this tour, Brian Tichy filled in for Foreigner's drummer Mark Schulman when he was not available. From August 19 to September 10, 2011, Night Ranger guitarist Joel Hoekstra did double duty playing for NR as well as subbing for Jones, who had taken ill. Right after this, guitarist Bruce Watson (ex-Rod Stewart) was brought in as Jones' stand-in for the tour's remaining dates and continued to tour with the group when they hit the road again in February 2012 after Jones underwent aortoiliac bypass surgery in Miami. On October 4, 2011, Foreigner released Acoustique, which presented their best and most famous songs, along with some newer tracks, recorded in stripped-down acoustic mode. In May 2012 after being diagnosed with colorectal cancer, Bluestein was forced to take a leave of absence from the band. His stand in on keyboards was Ollie Marland. Bluestein was able to return to the group in August 2012 and Tichy once again rejoined in the interim until his schedule with Whitesnake called him away. In September 2012, the man Tichy replaced in Whitesnake, Chris Frazier, became Foreigner's new percussionist. On August 31, 2012, after over a year away, Jones returned to the concert stage at Atlanta's Chastain Park. Guitarist Watson, in the meantime, stayed on until Jones was able to return to full health. At this very same show, keyboardist Derek Hilland (ex-Iron Butterfly, Whitesnake and Rick Springfield) came on board to sub for Bluestein for the group's late summer/fall tour dates and again during the winter/spring of 2013 until Bluestein was able to return. 2013–present On January 9, 2013, the band's original drummer, Dennis Elliott, joined Foreigner on stage at the Hard Rock Cafe in Hollywood, Florida, to play on "Hot Blooded". In addition to touring small clubs and venues, the band frequently is engaged for private parties and conventions, including playing at SeaWorld in Orlando for an IBM Rational Conference (June 6, 2012), at the Gaylord convention center in Washington, D.C., for the Teradata Partners 2012 conference (October 25, 2012) and at SAP's Field Kickoff Meeting in Las Vegas (January 23, 2013). On June 13, 2013, at the 44th Annual Songwriters Hall of Fame Award Ceremony, Jones and Gramm were officially inducted to the Songwriters Hall of Fame. Billy Joel was on hand to induct Jones and Gramm, singing snippets of Foreigner's hits in his introduction speech. Jones said he was proud as the honor makes his work "legit". The duo then took stage one more time and, along with Thom Gimbel and the house band, performed "Juke Box Hero" and "I Want to Know What Love Is" with Anthony Morgan's Inspirational Choir of Harlem—a performance that brought the entire audience to its feet. In 2014 Foreigner teamed up with Styx and former Eagles guitarist Don Felder for the Soundtrack of Summer Tour. Original bassist Ed Gagliardi died on May 11, 2014, aged 62, after an eight-year battle with cancer. Although discussions of an original member reunion had been proposed, the original band had not performed together since 1979. On June 18, 2014, Foreigner teamed up with the Brockton High School concert choir at the Leader Bank Pavilion in Boston, MA. They performed one of their greatest hits: I Want To Know What Love Is. On January 12, 2015, in Sarasota, Florida, Foreigner were joined on stage by original drummer Dennis Elliott and former bassist Rick Wills to play "Hot Blooded". In Hartford, Connecticut, on June 24, 2015, Foreigner began a summer tour as the opening act for Kid Rock. Foreigner appeared on the "Today Show" on February 11, 2016, along with the choir from Our Lady of Mercy Academy to promote their Acoustic Tour and the release of their new album, In Concert: Unplugged. On Saturday September 24, 2016, Foreigner performed before an estimated 20,000+ people at the 100th anniversary of the Durham Fair in Durham, Connecticut. The encore song "I Want to Know What Love Is" utilized the local Coginchaug High School concert choir for backup—their performance having been rehearsed with the band via Skype during the previous months. In a 2016 interview, Jones talked about a possible 40th-anniversary reunion tour, featuring the Head Games-era lineup: "It's quite possible. We've actually been talking about it. I'm not at a point where I can say it's definitely gonna happen, but we're all working on trying to make it happen. It's kind of exciting. And hopefully it'll be feasible and possible to pull it off next year (2017). Lou (Gramm) and I have communicated and we've kept up a sort of loose communication as I have actually also with Ian McDonald, Al Greenwood, Dennis Elliott and Rick Wills. We're at the early stages, but we're trying to put something together to commemorate (it's scary when I say it) 40 years." On November 25, 2016, in celebration of their 40th anniversary, Foreigner released a limited-edition 10-inch vinyl EP, The Flame Still Burns, on Rhino Records for Record Store Day's Black Friday event. The EP's track listing contained the title song (which had previously appeared on Foreigner's Acoustique album and had earlier been featured in the 1998 film Still Crazy) plus live unplugged versions of "Feels Like The First Time", "Long, Long Way From Home" and "Juke Box Hero". On July 20, 2017, at Jones Beach Theater in New York, the current Foreigner lineup were joined for their encore by Lou Gramm, Ian McDonald and Al Greenwood to help celebrate the band's 40th anniversary and Greenwood and McDonald came back the following year to take the stage with the group for their Jones Beach show on June 22, 2018. Dennis Elliott likewise joined his old mates for two songs at Foreigner's show on August 2, 2017, at MidFlorida Credit Union Amphitheatre in Tampa, Florida. Another reunion was announced for a pair of shows to take place on October 6–7, 2017, at the Soaring Eagle Casino & Resort in Mount Pleasant, Michigan, where the group was set to be joined again by Lou Gramm, Dennis Elliott, Al Greenwood, Ian McDonald and Rick Wills. The concerts were filmed for future release, appearing on PBS stations in the U.S. on June 8, 2018. In a July 2018 interview with OC Weekly, bassist Jeff Pilson said that Foreigner has no plans to release a new studio album, but will continue to release singles periodically. On November 9, 2018, all surviving original members of Foreigner came on stage to play alongside the current line-up for a show at Microsoft Theater in Los Angeles, beginning a series of "Foreigner Then and Now" concerts set to run through the end of the year. In October 2019, the group was slated once again to be joined by the surviving original players for a handful of shows as the Double Vision: Then And Now tour. However, on October 2, it was announced that Lou Gramm would not be taking part in these dates due to illness. Foreigner announced a 2020 summer tour with support from Kansas and Europe called "Juke Box Heroes" in reference to the song of the same name. On May 19, 2020, Foreigner announced the band's Juke Box Heroes 2020 Tour was canceled, due to the COVID-19 pandemic. On March 18, 2021, Pilson announced that Thom Gimbel would be departing from the band. Pilson would later confirm on March 20, 2021, that Foreigner are working on new music: "[But] we are working on some music. So I think that what's gonna happen is whatever other things we release in the next couple of years, there will be some new songs added to it. So that's what I see kind of happening. 'Cause we're working on a few that are not that far away. So I would say expect a package deal to have a couple of new songs on it." Jones has been absent from the band's 2021 tour, leaving no members from the original or classic line up. Thus, none of the band's current line up played on the original versions of any songs. It was falsely reported Jones joined the band at their show in New Brunswick, NJ on October 29, 2021 for Hot Blooded; rather, it was former bassist Wills. Band members Current Mick Jones – lead and rhythm guitars, keyboards, backing and lead vocals Jeff Pilson – bass, keyboards, backing vocals Kelly Hansen – lead vocals, percussion Michael Bluestein – keyboards, backing vocals Bruce Watson – rhythm and lead guitars, backing vocals Chris Frazier – drums, percussion Luis Maldonado – rhythm guitar, bass, backing vocals Former Lou Gramm – lead vocals, percussion Dennis Elliott – drums, percussion, occasional backing vocals Ian McDonald – rhythm and lead guitars, keyboards, saxophone, flute, backing vocals Al Greenwood – keyboards, synthesizers Ed Gagliardi – bass, backing vocals Rick Wills – bass, backing vocals Johnny Edwards – lead vocals, rhythm and lead guitars Jeff Jacobs – keyboards, backing vocals Thom Gimbel – rhythm guitar, keyboards, backing vocals, saxophone, flute Mark Schulman – drums, backing vocals Bruce Turgon – bass, backing vocals Scott Garrett – lead vocals Ron Wikso – drums Brian Tichy – drums Denny Carmassi – drums Jason Bonham – drums Chas West – lead vocals Paul Mirkovich – keyboards Jason Sutter – drums Discography Studio albums Foreigner (1977) Double Vision (1978) Head Games (1979) 4 (1981) Agent Provocateur (1984) Inside Information (1987) Unusual Heat (1991) Mr. Moonlight (1994) Can't Slow Down (2009) See also List of best-selling music artists List of number-one hits (United States) List of number-one albums (United States) List of best-selling albums in the United States List of artists who reached number one in the United States List of artists who reached number one on the U.S. Mainstream Rock chart References External links Lou Gramm's official website 1976 establishments in New York (state) American pop rock music groups Atlantic Records artists British hard rock musical groups British pop rock music groups Hard rock musical groups from New York (state) Musical groups established in 1976 Musical groups from London Musical groups from New York City

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What instrument did he play?

What instrument did Kelly Hansen play?

Foreigner (band)

Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004 in Santa Barbara, California at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy with a brand new version of Foreigner that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only and was eventually replaced by former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West briefly continued with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007 - the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. CANNOTANSWER

singer

Foreigner is a British-American rock band, originally formed in New York City in 1976 by veteran British guitarist and songwriter Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald, along with American vocalist Lou Gramm. Jones came up with the band's name as he, McDonald and Dennis Elliott were British, whereas Gramm, Al Greenwood and Ed Gagliardi were American. In 1977 Foreigner released its self-titled debut album, the first of four straight albums to be certified at least 5x platinum in the US. Foreigner peaked at No. 4 on the US album chart and in the Top 10 in Canada and Australia, while yielding two Top 10 hits in North America, "Feels Like the First Time" and "Cold as Ice". Their 1978 follow-up, Double Vision, was even more successful peaking at No. 3 in North America with two hit singles, “Hot Blooded” a No. 3 hit in both countries, and the title track, a US No. 2 and a Canadian No. 7. Foreigner's third album, Head Games (1979), went to No. 5 in North America producing two Top 20 singles, including its title track. Reduced to a quartet, their album 4 (1981) hit No. 1 (for 10 weeks) in the US and No. 2 in Canada, while becoming Foreigner's break-through album outside of North America, going Top 5 in the UK, Germany and Australia. Three of 4’s singles were hits: "Urgent" reached No. 1 in Canada and on the new US Rock Tracks chart, rose to No. 4 on the US Hot 100 and became their first Top 15 hit in Germany; the ballad “Waiting for a Girl Like You” peaked at No. 2 in both the US (for a record 10 weeks) and Canada, topped the US Rock Tracks chart and became their first Top 10 hit in the UK and Australia; and "Juke Box Hero" reached No. 3 on the Rock Tracks chart and the Top 30 on the Hot 100. In 1982 Foreigner released its first greatest hits album, Records, which has gone on to sell 7 million copies in the US. In 1984 Foreigner had its biggest hit single, the anthemic ballad "I Want to Know What Love Is", which topped the US, UK, Canadian and Australian charts, while hitting No. 3 in Germany and the Top 10 in numerous other countries. Its source album, Agent Provocateur, was the band's most successful in the UK, Germany and some other countries in Europe, where it peaked at No. 1, and in Australia where it peaked at No. 3, while making the Top 5 in the US and Canada. After a break, Foreigner released Inside Information (1987), which despite the No. 6 US and Australian hit, “Say You Will” (which also rose to No. 1 on the US Rock Tracks chart) and the No. 5 US hit, “I Don’t Want to Live Without You” (which also reached No. 1 on the US Adult Comtemporary chart), had a large sales drop-off, only hitting the Top 10 in a few European countries with a No. 15 peak in the US. The band's most recent albums, Unusual Heat (1991), without Gramm, who departed due to the band's shift towards the use of synthesizers, Mr. Moonlight (1994), with Gramm back on vocals, and Can't Slow Down (2009), once again without Gramm, were not major sellers; the highest chart positions were obtained in Germany, where the last album peaked at No. 16. Foreigner is one of the world's best-selling bands of all time with worldwide sales of more than 80 million records, including 37.5 million in the US. Leader Mick Jones has been for many years the only founding member still involved. Band history Formation, 1976 Since its beginning, Foreigner has been led by English musician Mick Jones (former member of Nero and the Gladiators, Johnny Hallyday's band, Spooky Tooth and The Leslie West Band). After the collapse of the Leslie West Band in 1976, Jones found himself stranded in New York City; West's manager, Bud Prager, encouraged Jones to continue his songwriting and rehearse a band of his own in some space Prager had near his New York office. Jones got together with New York keyboardist Al Greenwood (who had just played with former Flash members Colin Carter and Mike Hough in a group called Storm), drummer Stan Williams and Louisiana bassist Jay Davis (later with Rod Stewart) and began jamming. Another friend, Stories singer Ian Lloyd, was brought in to sing but Jones decided the chemistry was not quite right and retained only Greenwood as he renewed his search for players. During a session for Ian Lloyd's album, Jones met up with transplanted Englishman and ex-King Crimson member Ian McDonald and another session for Ian Hunter unearthed another fellow Brit in drummer Dennis Elliott. But after auditioning about forty or fifty singers, the right vocalist was becoming harder to come by until Jones dragged out an old Black Sheep album given to him backstage at a Spooky Tooth concert a few years prior by that group's lead singer, Lou Gramm. Jones put in a call to Gramm, who was back in his hometown of Rochester, New York, after Black Sheep's break-up, and sent him a plane ticket to New York City. Gramm proved to be the missing piece of the puzzle and Brooklyn bassist Ed Gagliardi completed the new sextet. A name, "Trigger", was tentatively agreed to and was the name that appeared on their demo tape, but it was passed on by all the record companies it was delivered to. John Kalodner, a former journalist and radio programmer who was working in A&R at Atlantic Records, happened to spot a tape on Atlantic president Jerry L. Greenberg's desk with the Trigger identification on it. Kalodner had just been to hear an outfit called Trigger and realized that this was not the same band. He convinced Greenberg that at least one of the songs on the tape could be a big hit and to look into signing this group immediately. Because the Trigger name was already taken, Jones came up with the Foreigner moniker from the fact that no matter what country they were in, three would be foreigners, because he, McDonald and Elliott were English, while Gramm, Greenwood and Gagliardi were American. Debut album, March 1977 In November 1976, after six months of rehearsals, the newly named Foreigner started recording their debut album with producers John Sinclair and Gary Lyons at The Hit Factory but switched to Atlantic Recording Studios where they finished recording the basic tracks and completed the overdubs. The first attempt at mixing the album was done at Sarm Studios, London. But, because of the band's dissatisfaction with the results, the album was re-mixed back at Atlantic by Mick Jones, Ian McDonald and Jimmy Douglass. Bud Prager signed on as the group's manager, a role he would continue in for the next 17 years. The band's debut, Foreigner, was released in March 1977 and was certified for sales of five million copies in the United States, staying in the Top 20 for a year with a peak at No. 4. It also made the Top 10 in both Canada and Australia and went to No. 1 in Norway. Foreigner had three significant hits in North America with "Feels Like the First Time" hitting No. 4 in the US and No. 7 in Canada, "Cold as Ice" reaching No. 6 and No. 9 in the countries and "Long, Long Way from Home" peaking at around No. 20. "Cold as Ice" was also modestly successful in the UK, Australia, the Netherlands and Belgium where it reached the Top 20 or 30. 1977–1990 By May 1977, Foreigner was already headlining theaters and had already scored a gold record for the first album. Not long afterwards, they were selling out U.S. basketball arenas and hockey rinks. After a show at Memorial Hall in Kansas City, Kansas, on May 6, 1977, drummer Elliott injured his hand, prompting the band to call in Ian Wallace (ex-King Crimson) to play alongside Elliott on some of the dates until the hand was healed. After almost a year on the road, the band played before over two hundred thousand people at California Jam II on March 18, 1978, and during the following month, the band toured Europe, Japan and Australia for the first time. Their second album, Double Vision (released in June 1978), co-produced by Keith Olsen, topped their previous, selling seven million records in the US, peaking at No. 3 in both the US and Canada, while dropping to No. 13 in Australia. It was the band's first album to chart in the UK where it peaked at No. 32, but Double Vision (and their next two albums) did not chart in Norway where their debut album had gone No. 1. The album spawned hits that were even more successful in North America than those from their debut album with "Hot Blooded" hitting No. 3 in both countries, the title track "Double Vision" reaching No. 2 in the US and No. 7 in Canada with "Blue Morning, Blue Day" reaching No. 15 and No. 21. Aside from "Hot Blooded" reaching No. 24 in Australia there was little airplay or sales in other countries for the singles from Double Vision or from their next album, Head Games. Album number three, Head Games (September 1979), co-produced by Roy Thomas Baker, which was referred to by Gramm as their "grainiest" album, was also successful, in this case because of the thunderous "Dirty White Boy" and another title track hit "Head Games". Both songs were Top 15 hits in the US and Canada but did not chart in any other counties. The album reached No. 5 in North America but its sales dropped off substantially in Australia (No. 45) without any gains in any other countries. For Head Games, bassist Ed Gagliardi was replaced by Englishman Rick Wills. In his autobiography, Juke Box Hero (named after the seminal Foreigner song), Gramm explains why the band parted ways with Gagliardi: "He was a little headstrong and had his own ideas that weren't always compatible with what we were trying to accomplish. Ed was obstinate at times, playing the song the way he wanted to play it rather than the way it was drawn up. Jones often had to stop sessions to get Ed back on track. After a while it became tiresome and slowed down the recording process." Gramm went on to say that he was disappointed overall with Head Games and thought it sounded unfinished. It ended up selling about two million fewer than its predecessor. In September 1980 co-founders Al Greenwood and Ian McDonald were sacked as Jones wished to have more control over the band and write most of the music (along with Gramm). In his book, Gramm goes on to talk about this difficult time: "The chemistry that made the band right in the beginning didn't necessarily mean it would always be right. I think a pretty major communication lapse appeared and I don't think anybody really knew what anybody was feeling—the deep, inner belief about the direction of the band and how we were progressing. We had reached a point where there was a lot of dissatisfaction". In the liner notes for the 2000 release, Juke Box Heroes: The Foreigner Anthology, Jones went on to elaborate further: "Ian McDonald, who I consider a great musician and multi-instrumentalist, began to focus more and more on guitar playing, while I believed his true talent lay more in the dimensional and creative imagery he gave the first two albums. Al Greenwood, our keyboard wiz and a very important part of the Foreigner sound at the beginning, had also started to focus more on songwriting. Although both their contributions to the band had been vital, a conflict was developing about the musical direction of the band. I just felt we needed to clarify it. So Lou, Rick, Dennis and I made the decision, and that's when we went down to four." And according to McDonald in a 1999 interview, "Mick and Lou decided they wanted to be the focus of the band. Mick wanted to make it more apparent that it was his group, so he decided to make a smaller group. That was his decision. I wouldn't have left—I loved the group, it was not my decision." McDonald noted that there was much creative compromise working in the band and that he did more than he received credit for, much as he did in King Crimson. McDonald stated that "he had a lot to do with the making of those records and the arrangements and the creating of those songs, more than is probably apparent. I did a lot that went uncredited, which I was happy to do though. When you're in a group you must contribute as much as you can. I was happy to do that. But as I said, it maybe didn't appear that I was doing as much as I in fact was. I had a lot to do with that group... as well as... Mick Jones, obviously, and everyone else—I'm not trying to take all the credit, but I'm just saying that I was there, I was involved, and I loved it." The band was now stripped down to a quartet, with session players brought in as needed to record or tour (see below for complete list of members). Greenwood soon joined Gagliardi to form the AOR band Spys, with John Blanco, Billy Milne and John DiGaudio. The band released two albums, an eponymous debut, and the follow-up Behind Enemy Lines. In the meantime, Foreigner began work on the next album at Electric Lady Studios in New York City with producer Robert John "Mutt" Lange, engineered by Dave Wittman (currently with Trans-Siberian Orchestra). 4 (released in July 1981) contained the hits "Urgent" (which includes the famous Junior Walker sax solo), "Waiting for a Girl Like You", "Juke Box Hero" and "Break it Up". Before releasing albums of his own, Thomas Dolby played synthesizers on 4 (he contributed the signature synth sound on "Urgent" and played the intro to "Waiting for a Girl Like You"). 4 became Foreigners first and only No 1. album in the US, spending 10 weeks in that position, and peaked at No. 2 in Canada. It also became the band's break-through album overseas, reaching the Top 5 in the UK, Germany and Australia. The first single, "Urgent" peaked at No. 4 on the US Hot 100 and topped US Album Rock Tracks chart and the Canadian RPM Singles Chart. It also became their biggest hit to date in Germany reaching the Top 15 there, higher than the other singles from the album, but was less successful in Australia, peaking at No. 24 and the UK, where it did not chart. The second single, "Juke Box Hero" was very successful on rock stations in North America, reaching No. 3 on the US Rock Tracks chart, but only reached No. 26 on the US Hot 100 and No. 39 in Canada, while reaching the Top 30 in Germany and France, their first song to chart in the later. The third single released, the power ballad, “Waiting for a Girl Like You”, went to No. 2 on the US Hot 100 for a record 10 consecutive weeks and, like "Urgent", topped the US Rock Tracks chart. It also went to No. 2 in Canada and also became their first single to reach the Top 10 in the UK (No. 8) and Australia (No. 3) while reaching the Top 20 in the Netherlands and Belgium and the Top 30 in Germany and France. For their 1981–82 tour in support of 4, the group added Peter Reilich (keyboards, synthesizers, who had played with Gary Wright), former Peter Frampton band member Bob Mayo (keyboards, synthesizers, guitar, backing vocals) and Mark Rivera (sax, flute, keyboards, synthesizers, guitar, backing vocals). Mayo and Rivera had also appeared on the sessions for 4. Reilich was dropped in May 1982 but Mayo and Rivera continued with the band through 1988. Foreigner's next album, Agent Provocateur, co-produced by Alex Sadkin, was released in December 1984 and in 1985 gave them their first and only No. 1 hit song in the US and several other countries (except for Canada were "Urgent" had done the trick) when "I Want to Know What Love Is", a ballad backed by Jennifer Holliday and the New Jersey Mass Choir, topped the charts in the US (both Hot 100 and Rock Tracks), UK, Canada, Australia, New Zealand, Norway, Sweden, etc. while hitting No. 3 in Germany (their only Top 10 hit there), No. 4 in France (their only Top 20 hit there) and No. 6 in both the Netherlands and Belgium. "That Was Yesterday" was the next single from the album in early 1985 and proved to be another sizable hit reaching No. 12 on the US Hot 100 (No. 4 on Rock Tracks) and the Top 30 in several other countries. The album was equally successful becoming Foreigner's only No. 1 album in the UK, Germany and Norway while reaching No. 3 in Australia (its biggest album there) and Canada, and No. 4 in the US and New Zealand (its biggest album there). It was certified 3x platinum in the US, their lowest selling album to date in that country. During their 1985 summer/fall tour, Foreigner appeared at the first Farm Aid on September 22 in Champaign, Illinois. In between his Foreigner commitments, Jones also started a side career as a producer for such albums as Van Halen's 5150 (1986), Bad Company's Fame and Fortune (1986) and Billy Joel's Storm Front (1989). In December 1987 Foreigner released Inside Information, spawning hits such as "Say You Will" and "I Don't Want to Live Without You". On May 14, 1988, the band headlined Atlantic Records 40th Anniversary concert at Madison Square Garden, culminating with "I Want to Know What Love Is", in which the likes of Phil Collins, Crosby, Stills and Nash, Roberta Flack and other Atlantic artists joined in, singing in the choir. Later during the summer, the band went back on the road but the touring for Inside Information was limited to Europe, Japan and Australia. For this tour, Rivera and Mayo were not available, so Larry Oakes (guitar, keyboards, synthesizers, backing vocals) and Lou Cortelezzi (sax) augmented the quartet of Gramm, Jones, Elliott and Wills. Lead vocalist Gramm's departure, May 1990 In the late 1980s, Jones and Gramm each put out solo efforts on Atlantic. Gramm released Ready or Not in January 1987 and shortly after its release, rehearsals for Foreigner's next album had started but ground to a halt as Gramm's status with the group was uncertain. But after the promotion and concert dates for Gramm's album were finished, cooler heads prevailed and Lou rejoined Foreigner in the studio for Inside Information, which was out at the end of 1987. Jones had Mick Jones in August 1989, then Gramm followed with his second solo release, Long Hard Look (October 1989), and decided to leave the group in May 1990 while preparing to tour behind Long Hard Look as the opener for Steve Miller Band. After finishing this tour, Gramm went on to form the short-lived band Shadow King, which put out one eponymous album on Atlantic in October 1991. Meanwhile, Jones brought in a new lead singer, Johnny Edwards (formerly of the bands Buster Brown, Montrose, King Kobra, Northrup and Wild Horses). Edwards made his first live appearance with Foreigner at the Long Island club Stephen Talkhouse on August 15, 1990, where he, Jones, Dennis Elliott and Rick Wills appeared, joined by special guests Terry Thomas (on guitar, who produced their next album) and Eddie Mack on harmonica. The new edition of Foreigner released the album Unusual Heat in June 1991. This was at the time their worst-selling album and only climbed as high as No. 117 on the Billboard 200, although "Lowdown and Dirty" was a minor mainstream rock hit, reaching No. 4 on that chart. In July 1991 the new lineup of Foreigner played some European dates then made its official U.S. debut on August 9 performing on the second night of a Billy Joel benefit concert at Deep Hollow Ranch in Montauk, New York, to raise funds for the preservation of Montauk Point Lighthouse. For their 1991 tour, Jeff Jacobs, who had played in Joel's band, was brought in as the new keyboardist and Mark Rivera returned. But during the fall leg of this tour, Elliott decided to leave the group after a concert at The Ritz in NYC on November 14, 1991, and embark on a career as a wood sculptor. Larry Aberman was then recruited as a temporary replacement until Mark Schulman arrived in 1992 as drummer for the next three years. Scott Gilman (guitar, sax, flute) joined the touring band in 1992 and Thom Gimbel took over from Gilman and Rivera in late 1992 after they departed. When Gimbel went to Aerosmith in 1993, Gilman returned to handle the guitar/sax/flute duties until Gimbel came back permanently in the spring of 1995. Gramm returns, 1992 During the Los Angeles riots, inside the confines of the Sunset Marquis Hotel in West Hollywood, where Mick Jones had gone to meet with Lou Gramm, they both ended up sequestered by a city curfew. They decided to use their time together resurrecting their partnership. "I flew to Los Angeles, during the riots," says Gramm. "We got flown to John Wayne Airport instead of LAX because they were shooting at the planes. Mick and I were holed up in the Sunset Marquis in L.A., with armed security guards walking around on the roof. It was a little weird, to say the least." Gramm ended up rejoining Foreigner, bringing along his Shadow King bandmate bassist Bruce Turgon to replace bassist Wills (who'd left after the band's 1991 tour after a falling out with Jones) and co-produced the band's second greatest hits album, The Very Best ... and Beyond (September 1992), which included three new songs. 1994–2003 In October 1994 Foreigner released what was supposed to be a comeback album, Mr. Moonlight, in Japan. Featuring new drummer Mark Schulman and augmented by a fifth member, keyboardist Jeff Jacobs, this album was not released in the U.S. until February 1995 and fared even worse than Unusual Heat. It only peaked at No. 136 on the Billboard 200, although the ballad "Until the End of Time" was a minor hit, reaching No. 42 on the Billboard Hot 100. In January 1995 Ron Wikso (who had played in The Storm with former Journey members Gregg Rolie and Ross Valory) took over percussion duties from Schulman, and Brian Tichy succeeded Wikso in 1998 before Schulman would return in 2000. In 1997 Gramm underwent surgery to remove a brain tumor. The medications he was prescribed caused considerable weight gain and weakened his singing voice. By 1998, the band was back on the road, but Gramm was visibly struggling and it would take him several years to get back to the point where he felt comfortable on stage. In the summer of 1999, Foreigner went on tour as the opening act for Journey and the following summer, Jeff Jacobs had to leave the road for a short time during the band's 2000 summer tour while his wife was giving birth to their child. Keyboardist John Purdell (who had been co-producer of the new tracks on their 1992 album The Very Best of ... and Beyond) stepped in to sub for Jacobs until he was able to return. Vocalist Scott Garrett of the tribute band "Cold as ice" stepped in for Gramm on lead vocals. In 2001 the Warner Music Group selected Foreigner and 4 to be among the first group of albums from their catalog to be remastered, enhanced and released in the new DVD Audio format. In 2002 the 25th Anniversary Year brought affirmation of the enduring respect for Foreigner recordings with Rhino Entertainment reissuing the 1977 to 1981 multi-platinum albums in special enhanced formats. Foreigner, Double Vision, Head Games and 4 received the attention of Rhino's staff with new photos, liner notes and bonus tracks of previously unreleased material. New greatest hits albums were also produced in the U.S. and in Europe. The U.S. version reached No. 80 on the Billboard 200 Album chart. For the group's 25th Anniversary Tour in 2002, they were joined by former Heart and Montrose beat keeper Denny Carmassi. In late October/early November, then December, of 2002, Foreigner played in Belgium and Germany at the annual Night of the Proms festival. It was the last time that Lou Gramm and Mick Jones would play together until June 2013. Gramm would leave the group in early 2003. Jones stated that he and Gramm split because they weren't communicating: "I think we really tried hard to save it, but it got to the point when we both realized that to go on would be detrimental for both of us." New lead vocalist Kelly Hansen, March 2005 Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004, in Santa Barbara, California, at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy dubbed "Mick Jones & Friends" that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only. Inspired by the event and further encouraged by Jason Bonham, Jones continued the search for a new frontman. He would eventually find former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West appeared briefly with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Can't Slow Down, Jones' health issues, and Acoustique (2007–2012) Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007—the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. Foreigner released a new album on September 29, 2009, titled Can't Slow Down. It was one of several recent classic rock releases (AC/DC, the Eagles, Journey and Kiss being four others) to be released exclusively through the Walmart stores chain in the US, while in Europe the album was released by earMUSIC (a label part of the Edel group), charting top 20 in Germany (16) and Top 30 in Switzerland. Can't Slow Down debuted at No. 29 on the Billboard 200. The first two singles from the album, "When It Comes to Love" and "In Pieces" both reached the Top 20 on Billboard's Adult Contemporary chart. In 2010 it was awarded a gold certification from the Independent Music Companies Association, which indicated sales of at least 100,000 copies throughout Europe. In early 2010, Foreigner teamed up with Styx and Kansas for the United in Rock Tour. On May 4, 2010, it was announced that Brian Tichy's replacement as drummer would be Jason Sutter. Jason Sutter's time with the band was short as he left by 2011. Mark Schulman then returned to Foreigner for his third go-round as drummer. On February 20, 2011, the band played for the first time in Bangalore, India along with sitar player Niladri Kumar. In June 2011 Foreigner (again along with Styx) co-headlined with Journey on their UK tour. After this, they joined up with Journey and Night Ranger on a triple bill summer/fall tour of the US. For some dates of this tour, Brian Tichy filled in for Foreigner's drummer Mark Schulman when he was not available. From August 19 to September 10, 2011, Night Ranger guitarist Joel Hoekstra did double duty playing for NR as well as subbing for Jones, who had taken ill. Right after this, guitarist Bruce Watson (ex-Rod Stewart) was brought in as Jones' stand-in for the tour's remaining dates and continued to tour with the group when they hit the road again in February 2012 after Jones underwent aortoiliac bypass surgery in Miami. On October 4, 2011, Foreigner released Acoustique, which presented their best and most famous songs, along with some newer tracks, recorded in stripped-down acoustic mode. In May 2012 after being diagnosed with colorectal cancer, Bluestein was forced to take a leave of absence from the band. His stand in on keyboards was Ollie Marland. Bluestein was able to return to the group in August 2012 and Tichy once again rejoined in the interim until his schedule with Whitesnake called him away. In September 2012, the man Tichy replaced in Whitesnake, Chris Frazier, became Foreigner's new percussionist. On August 31, 2012, after over a year away, Jones returned to the concert stage at Atlanta's Chastain Park. Guitarist Watson, in the meantime, stayed on until Jones was able to return to full health. At this very same show, keyboardist Derek Hilland (ex-Iron Butterfly, Whitesnake and Rick Springfield) came on board to sub for Bluestein for the group's late summer/fall tour dates and again during the winter/spring of 2013 until Bluestein was able to return. 2013–present On January 9, 2013, the band's original drummer, Dennis Elliott, joined Foreigner on stage at the Hard Rock Cafe in Hollywood, Florida, to play on "Hot Blooded". In addition to touring small clubs and venues, the band frequently is engaged for private parties and conventions, including playing at SeaWorld in Orlando for an IBM Rational Conference (June 6, 2012), at the Gaylord convention center in Washington, D.C., for the Teradata Partners 2012 conference (October 25, 2012) and at SAP's Field Kickoff Meeting in Las Vegas (January 23, 2013). On June 13, 2013, at the 44th Annual Songwriters Hall of Fame Award Ceremony, Jones and Gramm were officially inducted to the Songwriters Hall of Fame. Billy Joel was on hand to induct Jones and Gramm, singing snippets of Foreigner's hits in his introduction speech. Jones said he was proud as the honor makes his work "legit". The duo then took stage one more time and, along with Thom Gimbel and the house band, performed "Juke Box Hero" and "I Want to Know What Love Is" with Anthony Morgan's Inspirational Choir of Harlem—a performance that brought the entire audience to its feet. In 2014 Foreigner teamed up with Styx and former Eagles guitarist Don Felder for the Soundtrack of Summer Tour. Original bassist Ed Gagliardi died on May 11, 2014, aged 62, after an eight-year battle with cancer. Although discussions of an original member reunion had been proposed, the original band had not performed together since 1979. On June 18, 2014, Foreigner teamed up with the Brockton High School concert choir at the Leader Bank Pavilion in Boston, MA. They performed one of their greatest hits: I Want To Know What Love Is. On January 12, 2015, in Sarasota, Florida, Foreigner were joined on stage by original drummer Dennis Elliott and former bassist Rick Wills to play "Hot Blooded". In Hartford, Connecticut, on June 24, 2015, Foreigner began a summer tour as the opening act for Kid Rock. Foreigner appeared on the "Today Show" on February 11, 2016, along with the choir from Our Lady of Mercy Academy to promote their Acoustic Tour and the release of their new album, In Concert: Unplugged. On Saturday September 24, 2016, Foreigner performed before an estimated 20,000+ people at the 100th anniversary of the Durham Fair in Durham, Connecticut. The encore song "I Want to Know What Love Is" utilized the local Coginchaug High School concert choir for backup—their performance having been rehearsed with the band via Skype during the previous months. In a 2016 interview, Jones talked about a possible 40th-anniversary reunion tour, featuring the Head Games-era lineup: "It's quite possible. We've actually been talking about it. I'm not at a point where I can say it's definitely gonna happen, but we're all working on trying to make it happen. It's kind of exciting. And hopefully it'll be feasible and possible to pull it off next year (2017). Lou (Gramm) and I have communicated and we've kept up a sort of loose communication as I have actually also with Ian McDonald, Al Greenwood, Dennis Elliott and Rick Wills. We're at the early stages, but we're trying to put something together to commemorate (it's scary when I say it) 40 years." On November 25, 2016, in celebration of their 40th anniversary, Foreigner released a limited-edition 10-inch vinyl EP, The Flame Still Burns, on Rhino Records for Record Store Day's Black Friday event. The EP's track listing contained the title song (which had previously appeared on Foreigner's Acoustique album and had earlier been featured in the 1998 film Still Crazy) plus live unplugged versions of "Feels Like The First Time", "Long, Long Way From Home" and "Juke Box Hero". On July 20, 2017, at Jones Beach Theater in New York, the current Foreigner lineup were joined for their encore by Lou Gramm, Ian McDonald and Al Greenwood to help celebrate the band's 40th anniversary and Greenwood and McDonald came back the following year to take the stage with the group for their Jones Beach show on June 22, 2018. Dennis Elliott likewise joined his old mates for two songs at Foreigner's show on August 2, 2017, at MidFlorida Credit Union Amphitheatre in Tampa, Florida. Another reunion was announced for a pair of shows to take place on October 6–7, 2017, at the Soaring Eagle Casino & Resort in Mount Pleasant, Michigan, where the group was set to be joined again by Lou Gramm, Dennis Elliott, Al Greenwood, Ian McDonald and Rick Wills. The concerts were filmed for future release, appearing on PBS stations in the U.S. on June 8, 2018. In a July 2018 interview with OC Weekly, bassist Jeff Pilson said that Foreigner has no plans to release a new studio album, but will continue to release singles periodically. On November 9, 2018, all surviving original members of Foreigner came on stage to play alongside the current line-up for a show at Microsoft Theater in Los Angeles, beginning a series of "Foreigner Then and Now" concerts set to run through the end of the year. In October 2019, the group was slated once again to be joined by the surviving original players for a handful of shows as the Double Vision: Then And Now tour. However, on October 2, it was announced that Lou Gramm would not be taking part in these dates due to illness. Foreigner announced a 2020 summer tour with support from Kansas and Europe called "Juke Box Heroes" in reference to the song of the same name. On May 19, 2020, Foreigner announced the band's Juke Box Heroes 2020 Tour was canceled, due to the COVID-19 pandemic. On March 18, 2021, Pilson announced that Thom Gimbel would be departing from the band. Pilson would later confirm on March 20, 2021, that Foreigner are working on new music: "[But] we are working on some music. So I think that what's gonna happen is whatever other things we release in the next couple of years, there will be some new songs added to it. So that's what I see kind of happening. 'Cause we're working on a few that are not that far away. So I would say expect a package deal to have a couple of new songs on it." Jones has been absent from the band's 2021 tour, leaving no members from the original or classic line up. Thus, none of the band's current line up played on the original versions of any songs. It was falsely reported Jones joined the band at their show in New Brunswick, NJ on October 29, 2021 for Hot Blooded; rather, it was former bassist Wills. Band members Current Mick Jones – lead and rhythm guitars, keyboards, backing and lead vocals Jeff Pilson – bass, keyboards, backing vocals Kelly Hansen – lead vocals, percussion Michael Bluestein – keyboards, backing vocals Bruce Watson – rhythm and lead guitars, backing vocals Chris Frazier – drums, percussion Luis Maldonado – rhythm guitar, bass, backing vocals Former Lou Gramm – lead vocals, percussion Dennis Elliott – drums, percussion, occasional backing vocals Ian McDonald – rhythm and lead guitars, keyboards, saxophone, flute, backing vocals Al Greenwood – keyboards, synthesizers Ed Gagliardi – bass, backing vocals Rick Wills – bass, backing vocals Johnny Edwards – lead vocals, rhythm and lead guitars Jeff Jacobs – keyboards, backing vocals Thom Gimbel – rhythm guitar, keyboards, backing vocals, saxophone, flute Mark Schulman – drums, backing vocals Bruce Turgon – bass, backing vocals Scott Garrett – lead vocals Ron Wikso – drums Brian Tichy – drums Denny Carmassi – drums Jason Bonham – drums Chas West – lead vocals Paul Mirkovich – keyboards Jason Sutter – drums Discography Studio albums Foreigner (1977) Double Vision (1978) Head Games (1979) 4 (1981) Agent Provocateur (1984) Inside Information (1987) Unusual Heat (1991) Mr. Moonlight (1994) Can't Slow Down (2009) See also List of best-selling music artists List of number-one hits (United States) List of number-one albums (United States) List of best-selling albums in the United States List of artists who reached number one in the United States List of artists who reached number one on the U.S. Mainstream Rock chart References External links Lou Gramm's official website 1976 establishments in New York (state) American pop rock music groups Atlantic Records artists British hard rock musical groups British pop rock music groups Hard rock musical groups from New York (state) Musical groups established in 1976 Musical groups from London Musical groups from New York City

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How many albums did he release?

How many albums did Kelly Hansen release?

Foreigner (band)

Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004 in Santa Barbara, California at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy with a brand new version of Foreigner that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only and was eventually replaced by former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West briefly continued with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007 - the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. CANNOTANSWER

Their 2005 BMG album, Extended Versions, featured the new line-up

Foreigner is a British-American rock band, originally formed in New York City in 1976 by veteran British guitarist and songwriter Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald, along with American vocalist Lou Gramm. Jones came up with the band's name as he, McDonald and Dennis Elliott were British, whereas Gramm, Al Greenwood and Ed Gagliardi were American. In 1977 Foreigner released its self-titled debut album, the first of four straight albums to be certified at least 5x platinum in the US. Foreigner peaked at No. 4 on the US album chart and in the Top 10 in Canada and Australia, while yielding two Top 10 hits in North America, "Feels Like the First Time" and "Cold as Ice". Their 1978 follow-up, Double Vision, was even more successful peaking at No. 3 in North America with two hit singles, “Hot Blooded” a No. 3 hit in both countries, and the title track, a US No. 2 and a Canadian No. 7. Foreigner's third album, Head Games (1979), went to No. 5 in North America producing two Top 20 singles, including its title track. Reduced to a quartet, their album 4 (1981) hit No. 1 (for 10 weeks) in the US and No. 2 in Canada, while becoming Foreigner's break-through album outside of North America, going Top 5 in the UK, Germany and Australia. Three of 4’s singles were hits: "Urgent" reached No. 1 in Canada and on the new US Rock Tracks chart, rose to No. 4 on the US Hot 100 and became their first Top 15 hit in Germany; the ballad “Waiting for a Girl Like You” peaked at No. 2 in both the US (for a record 10 weeks) and Canada, topped the US Rock Tracks chart and became their first Top 10 hit in the UK and Australia; and "Juke Box Hero" reached No. 3 on the Rock Tracks chart and the Top 30 on the Hot 100. In 1982 Foreigner released its first greatest hits album, Records, which has gone on to sell 7 million copies in the US. In 1984 Foreigner had its biggest hit single, the anthemic ballad "I Want to Know What Love Is", which topped the US, UK, Canadian and Australian charts, while hitting No. 3 in Germany and the Top 10 in numerous other countries. Its source album, Agent Provocateur, was the band's most successful in the UK, Germany and some other countries in Europe, where it peaked at No. 1, and in Australia where it peaked at No. 3, while making the Top 5 in the US and Canada. After a break, Foreigner released Inside Information (1987), which despite the No. 6 US and Australian hit, “Say You Will” (which also rose to No. 1 on the US Rock Tracks chart) and the No. 5 US hit, “I Don’t Want to Live Without You” (which also reached No. 1 on the US Adult Comtemporary chart), had a large sales drop-off, only hitting the Top 10 in a few European countries with a No. 15 peak in the US. The band's most recent albums, Unusual Heat (1991), without Gramm, who departed due to the band's shift towards the use of synthesizers, Mr. Moonlight (1994), with Gramm back on vocals, and Can't Slow Down (2009), once again without Gramm, were not major sellers; the highest chart positions were obtained in Germany, where the last album peaked at No. 16. Foreigner is one of the world's best-selling bands of all time with worldwide sales of more than 80 million records, including 37.5 million in the US. Leader Mick Jones has been for many years the only founding member still involved. Band history Formation, 1976 Since its beginning, Foreigner has been led by English musician Mick Jones (former member of Nero and the Gladiators, Johnny Hallyday's band, Spooky Tooth and The Leslie West Band). After the collapse of the Leslie West Band in 1976, Jones found himself stranded in New York City; West's manager, Bud Prager, encouraged Jones to continue his songwriting and rehearse a band of his own in some space Prager had near his New York office. Jones got together with New York keyboardist Al Greenwood (who had just played with former Flash members Colin Carter and Mike Hough in a group called Storm), drummer Stan Williams and Louisiana bassist Jay Davis (later with Rod Stewart) and began jamming. Another friend, Stories singer Ian Lloyd, was brought in to sing but Jones decided the chemistry was not quite right and retained only Greenwood as he renewed his search for players. During a session for Ian Lloyd's album, Jones met up with transplanted Englishman and ex-King Crimson member Ian McDonald and another session for Ian Hunter unearthed another fellow Brit in drummer Dennis Elliott. But after auditioning about forty or fifty singers, the right vocalist was becoming harder to come by until Jones dragged out an old Black Sheep album given to him backstage at a Spooky Tooth concert a few years prior by that group's lead singer, Lou Gramm. Jones put in a call to Gramm, who was back in his hometown of Rochester, New York, after Black Sheep's break-up, and sent him a plane ticket to New York City. Gramm proved to be the missing piece of the puzzle and Brooklyn bassist Ed Gagliardi completed the new sextet. A name, "Trigger", was tentatively agreed to and was the name that appeared on their demo tape, but it was passed on by all the record companies it was delivered to. John Kalodner, a former journalist and radio programmer who was working in A&R at Atlantic Records, happened to spot a tape on Atlantic president Jerry L. Greenberg's desk with the Trigger identification on it. Kalodner had just been to hear an outfit called Trigger and realized that this was not the same band. He convinced Greenberg that at least one of the songs on the tape could be a big hit and to look into signing this group immediately. Because the Trigger name was already taken, Jones came up with the Foreigner moniker from the fact that no matter what country they were in, three would be foreigners, because he, McDonald and Elliott were English, while Gramm, Greenwood and Gagliardi were American. Debut album, March 1977 In November 1976, after six months of rehearsals, the newly named Foreigner started recording their debut album with producers John Sinclair and Gary Lyons at The Hit Factory but switched to Atlantic Recording Studios where they finished recording the basic tracks and completed the overdubs. The first attempt at mixing the album was done at Sarm Studios, London. But, because of the band's dissatisfaction with the results, the album was re-mixed back at Atlantic by Mick Jones, Ian McDonald and Jimmy Douglass. Bud Prager signed on as the group's manager, a role he would continue in for the next 17 years. The band's debut, Foreigner, was released in March 1977 and was certified for sales of five million copies in the United States, staying in the Top 20 for a year with a peak at No. 4. It also made the Top 10 in both Canada and Australia and went to No. 1 in Norway. Foreigner had three significant hits in North America with "Feels Like the First Time" hitting No. 4 in the US and No. 7 in Canada, "Cold as Ice" reaching No. 6 and No. 9 in the countries and "Long, Long Way from Home" peaking at around No. 20. "Cold as Ice" was also modestly successful in the UK, Australia, the Netherlands and Belgium where it reached the Top 20 or 30. 1977–1990 By May 1977, Foreigner was already headlining theaters and had already scored a gold record for the first album. Not long afterwards, they were selling out U.S. basketball arenas and hockey rinks. After a show at Memorial Hall in Kansas City, Kansas, on May 6, 1977, drummer Elliott injured his hand, prompting the band to call in Ian Wallace (ex-King Crimson) to play alongside Elliott on some of the dates until the hand was healed. After almost a year on the road, the band played before over two hundred thousand people at California Jam II on March 18, 1978, and during the following month, the band toured Europe, Japan and Australia for the first time. Their second album, Double Vision (released in June 1978), co-produced by Keith Olsen, topped their previous, selling seven million records in the US, peaking at No. 3 in both the US and Canada, while dropping to No. 13 in Australia. It was the band's first album to chart in the UK where it peaked at No. 32, but Double Vision (and their next two albums) did not chart in Norway where their debut album had gone No. 1. The album spawned hits that were even more successful in North America than those from their debut album with "Hot Blooded" hitting No. 3 in both countries, the title track "Double Vision" reaching No. 2 in the US and No. 7 in Canada with "Blue Morning, Blue Day" reaching No. 15 and No. 21. Aside from "Hot Blooded" reaching No. 24 in Australia there was little airplay or sales in other countries for the singles from Double Vision or from their next album, Head Games. Album number three, Head Games (September 1979), co-produced by Roy Thomas Baker, which was referred to by Gramm as their "grainiest" album, was also successful, in this case because of the thunderous "Dirty White Boy" and another title track hit "Head Games". Both songs were Top 15 hits in the US and Canada but did not chart in any other counties. The album reached No. 5 in North America but its sales dropped off substantially in Australia (No. 45) without any gains in any other countries. For Head Games, bassist Ed Gagliardi was replaced by Englishman Rick Wills. In his autobiography, Juke Box Hero (named after the seminal Foreigner song), Gramm explains why the band parted ways with Gagliardi: "He was a little headstrong and had his own ideas that weren't always compatible with what we were trying to accomplish. Ed was obstinate at times, playing the song the way he wanted to play it rather than the way it was drawn up. Jones often had to stop sessions to get Ed back on track. After a while it became tiresome and slowed down the recording process." Gramm went on to say that he was disappointed overall with Head Games and thought it sounded unfinished. It ended up selling about two million fewer than its predecessor. In September 1980 co-founders Al Greenwood and Ian McDonald were sacked as Jones wished to have more control over the band and write most of the music (along with Gramm). In his book, Gramm goes on to talk about this difficult time: "The chemistry that made the band right in the beginning didn't necessarily mean it would always be right. I think a pretty major communication lapse appeared and I don't think anybody really knew what anybody was feeling—the deep, inner belief about the direction of the band and how we were progressing. We had reached a point where there was a lot of dissatisfaction". In the liner notes for the 2000 release, Juke Box Heroes: The Foreigner Anthology, Jones went on to elaborate further: "Ian McDonald, who I consider a great musician and multi-instrumentalist, began to focus more and more on guitar playing, while I believed his true talent lay more in the dimensional and creative imagery he gave the first two albums. Al Greenwood, our keyboard wiz and a very important part of the Foreigner sound at the beginning, had also started to focus more on songwriting. Although both their contributions to the band had been vital, a conflict was developing about the musical direction of the band. I just felt we needed to clarify it. So Lou, Rick, Dennis and I made the decision, and that's when we went down to four." And according to McDonald in a 1999 interview, "Mick and Lou decided they wanted to be the focus of the band. Mick wanted to make it more apparent that it was his group, so he decided to make a smaller group. That was his decision. I wouldn't have left—I loved the group, it was not my decision." McDonald noted that there was much creative compromise working in the band and that he did more than he received credit for, much as he did in King Crimson. McDonald stated that "he had a lot to do with the making of those records and the arrangements and the creating of those songs, more than is probably apparent. I did a lot that went uncredited, which I was happy to do though. When you're in a group you must contribute as much as you can. I was happy to do that. But as I said, it maybe didn't appear that I was doing as much as I in fact was. I had a lot to do with that group... as well as... Mick Jones, obviously, and everyone else—I'm not trying to take all the credit, but I'm just saying that I was there, I was involved, and I loved it." The band was now stripped down to a quartet, with session players brought in as needed to record or tour (see below for complete list of members). Greenwood soon joined Gagliardi to form the AOR band Spys, with John Blanco, Billy Milne and John DiGaudio. The band released two albums, an eponymous debut, and the follow-up Behind Enemy Lines. In the meantime, Foreigner began work on the next album at Electric Lady Studios in New York City with producer Robert John "Mutt" Lange, engineered by Dave Wittman (currently with Trans-Siberian Orchestra). 4 (released in July 1981) contained the hits "Urgent" (which includes the famous Junior Walker sax solo), "Waiting for a Girl Like You", "Juke Box Hero" and "Break it Up". Before releasing albums of his own, Thomas Dolby played synthesizers on 4 (he contributed the signature synth sound on "Urgent" and played the intro to "Waiting for a Girl Like You"). 4 became Foreigners first and only No 1. album in the US, spending 10 weeks in that position, and peaked at No. 2 in Canada. It also became the band's break-through album overseas, reaching the Top 5 in the UK, Germany and Australia. The first single, "Urgent" peaked at No. 4 on the US Hot 100 and topped US Album Rock Tracks chart and the Canadian RPM Singles Chart. It also became their biggest hit to date in Germany reaching the Top 15 there, higher than the other singles from the album, but was less successful in Australia, peaking at No. 24 and the UK, where it did not chart. The second single, "Juke Box Hero" was very successful on rock stations in North America, reaching No. 3 on the US Rock Tracks chart, but only reached No. 26 on the US Hot 100 and No. 39 in Canada, while reaching the Top 30 in Germany and France, their first song to chart in the later. The third single released, the power ballad, “Waiting for a Girl Like You”, went to No. 2 on the US Hot 100 for a record 10 consecutive weeks and, like "Urgent", topped the US Rock Tracks chart. It also went to No. 2 in Canada and also became their first single to reach the Top 10 in the UK (No. 8) and Australia (No. 3) while reaching the Top 20 in the Netherlands and Belgium and the Top 30 in Germany and France. For their 1981–82 tour in support of 4, the group added Peter Reilich (keyboards, synthesizers, who had played with Gary Wright), former Peter Frampton band member Bob Mayo (keyboards, synthesizers, guitar, backing vocals) and Mark Rivera (sax, flute, keyboards, synthesizers, guitar, backing vocals). Mayo and Rivera had also appeared on the sessions for 4. Reilich was dropped in May 1982 but Mayo and Rivera continued with the band through 1988. Foreigner's next album, Agent Provocateur, co-produced by Alex Sadkin, was released in December 1984 and in 1985 gave them their first and only No. 1 hit song in the US and several other countries (except for Canada were "Urgent" had done the trick) when "I Want to Know What Love Is", a ballad backed by Jennifer Holliday and the New Jersey Mass Choir, topped the charts in the US (both Hot 100 and Rock Tracks), UK, Canada, Australia, New Zealand, Norway, Sweden, etc. while hitting No. 3 in Germany (their only Top 10 hit there), No. 4 in France (their only Top 20 hit there) and No. 6 in both the Netherlands and Belgium. "That Was Yesterday" was the next single from the album in early 1985 and proved to be another sizable hit reaching No. 12 on the US Hot 100 (No. 4 on Rock Tracks) and the Top 30 in several other countries. The album was equally successful becoming Foreigner's only No. 1 album in the UK, Germany and Norway while reaching No. 3 in Australia (its biggest album there) and Canada, and No. 4 in the US and New Zealand (its biggest album there). It was certified 3x platinum in the US, their lowest selling album to date in that country. During their 1985 summer/fall tour, Foreigner appeared at the first Farm Aid on September 22 in Champaign, Illinois. In between his Foreigner commitments, Jones also started a side career as a producer for such albums as Van Halen's 5150 (1986), Bad Company's Fame and Fortune (1986) and Billy Joel's Storm Front (1989). In December 1987 Foreigner released Inside Information, spawning hits such as "Say You Will" and "I Don't Want to Live Without You". On May 14, 1988, the band headlined Atlantic Records 40th Anniversary concert at Madison Square Garden, culminating with "I Want to Know What Love Is", in which the likes of Phil Collins, Crosby, Stills and Nash, Roberta Flack and other Atlantic artists joined in, singing in the choir. Later during the summer, the band went back on the road but the touring for Inside Information was limited to Europe, Japan and Australia. For this tour, Rivera and Mayo were not available, so Larry Oakes (guitar, keyboards, synthesizers, backing vocals) and Lou Cortelezzi (sax) augmented the quartet of Gramm, Jones, Elliott and Wills. Lead vocalist Gramm's departure, May 1990 In the late 1980s, Jones and Gramm each put out solo efforts on Atlantic. Gramm released Ready or Not in January 1987 and shortly after its release, rehearsals for Foreigner's next album had started but ground to a halt as Gramm's status with the group was uncertain. But after the promotion and concert dates for Gramm's album were finished, cooler heads prevailed and Lou rejoined Foreigner in the studio for Inside Information, which was out at the end of 1987. Jones had Mick Jones in August 1989, then Gramm followed with his second solo release, Long Hard Look (October 1989), and decided to leave the group in May 1990 while preparing to tour behind Long Hard Look as the opener for Steve Miller Band. After finishing this tour, Gramm went on to form the short-lived band Shadow King, which put out one eponymous album on Atlantic in October 1991. Meanwhile, Jones brought in a new lead singer, Johnny Edwards (formerly of the bands Buster Brown, Montrose, King Kobra, Northrup and Wild Horses). Edwards made his first live appearance with Foreigner at the Long Island club Stephen Talkhouse on August 15, 1990, where he, Jones, Dennis Elliott and Rick Wills appeared, joined by special guests Terry Thomas (on guitar, who produced their next album) and Eddie Mack on harmonica. The new edition of Foreigner released the album Unusual Heat in June 1991. This was at the time their worst-selling album and only climbed as high as No. 117 on the Billboard 200, although "Lowdown and Dirty" was a minor mainstream rock hit, reaching No. 4 on that chart. In July 1991 the new lineup of Foreigner played some European dates then made its official U.S. debut on August 9 performing on the second night of a Billy Joel benefit concert at Deep Hollow Ranch in Montauk, New York, to raise funds for the preservation of Montauk Point Lighthouse. For their 1991 tour, Jeff Jacobs, who had played in Joel's band, was brought in as the new keyboardist and Mark Rivera returned. But during the fall leg of this tour, Elliott decided to leave the group after a concert at The Ritz in NYC on November 14, 1991, and embark on a career as a wood sculptor. Larry Aberman was then recruited as a temporary replacement until Mark Schulman arrived in 1992 as drummer for the next three years. Scott Gilman (guitar, sax, flute) joined the touring band in 1992 and Thom Gimbel took over from Gilman and Rivera in late 1992 after they departed. When Gimbel went to Aerosmith in 1993, Gilman returned to handle the guitar/sax/flute duties until Gimbel came back permanently in the spring of 1995. Gramm returns, 1992 During the Los Angeles riots, inside the confines of the Sunset Marquis Hotel in West Hollywood, where Mick Jones had gone to meet with Lou Gramm, they both ended up sequestered by a city curfew. They decided to use their time together resurrecting their partnership. "I flew to Los Angeles, during the riots," says Gramm. "We got flown to John Wayne Airport instead of LAX because they were shooting at the planes. Mick and I were holed up in the Sunset Marquis in L.A., with armed security guards walking around on the roof. It was a little weird, to say the least." Gramm ended up rejoining Foreigner, bringing along his Shadow King bandmate bassist Bruce Turgon to replace bassist Wills (who'd left after the band's 1991 tour after a falling out with Jones) and co-produced the band's second greatest hits album, The Very Best ... and Beyond (September 1992), which included three new songs. 1994–2003 In October 1994 Foreigner released what was supposed to be a comeback album, Mr. Moonlight, in Japan. Featuring new drummer Mark Schulman and augmented by a fifth member, keyboardist Jeff Jacobs, this album was not released in the U.S. until February 1995 and fared even worse than Unusual Heat. It only peaked at No. 136 on the Billboard 200, although the ballad "Until the End of Time" was a minor hit, reaching No. 42 on the Billboard Hot 100. In January 1995 Ron Wikso (who had played in The Storm with former Journey members Gregg Rolie and Ross Valory) took over percussion duties from Schulman, and Brian Tichy succeeded Wikso in 1998 before Schulman would return in 2000. In 1997 Gramm underwent surgery to remove a brain tumor. The medications he was prescribed caused considerable weight gain and weakened his singing voice. By 1998, the band was back on the road, but Gramm was visibly struggling and it would take him several years to get back to the point where he felt comfortable on stage. In the summer of 1999, Foreigner went on tour as the opening act for Journey and the following summer, Jeff Jacobs had to leave the road for a short time during the band's 2000 summer tour while his wife was giving birth to their child. Keyboardist John Purdell (who had been co-producer of the new tracks on their 1992 album The Very Best of ... and Beyond) stepped in to sub for Jacobs until he was able to return. Vocalist Scott Garrett of the tribute band "Cold as ice" stepped in for Gramm on lead vocals. In 2001 the Warner Music Group selected Foreigner and 4 to be among the first group of albums from their catalog to be remastered, enhanced and released in the new DVD Audio format. In 2002 the 25th Anniversary Year brought affirmation of the enduring respect for Foreigner recordings with Rhino Entertainment reissuing the 1977 to 1981 multi-platinum albums in special enhanced formats. Foreigner, Double Vision, Head Games and 4 received the attention of Rhino's staff with new photos, liner notes and bonus tracks of previously unreleased material. New greatest hits albums were also produced in the U.S. and in Europe. The U.S. version reached No. 80 on the Billboard 200 Album chart. For the group's 25th Anniversary Tour in 2002, they were joined by former Heart and Montrose beat keeper Denny Carmassi. In late October/early November, then December, of 2002, Foreigner played in Belgium and Germany at the annual Night of the Proms festival. It was the last time that Lou Gramm and Mick Jones would play together until June 2013. Gramm would leave the group in early 2003. Jones stated that he and Gramm split because they weren't communicating: "I think we really tried hard to save it, but it got to the point when we both realized that to go on would be detrimental for both of us." New lead vocalist Kelly Hansen, March 2005 Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004, in Santa Barbara, California, at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy dubbed "Mick Jones & Friends" that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only. Inspired by the event and further encouraged by Jason Bonham, Jones continued the search for a new frontman. He would eventually find former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West appeared briefly with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Can't Slow Down, Jones' health issues, and Acoustique (2007–2012) Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007—the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. Foreigner released a new album on September 29, 2009, titled Can't Slow Down. It was one of several recent classic rock releases (AC/DC, the Eagles, Journey and Kiss being four others) to be released exclusively through the Walmart stores chain in the US, while in Europe the album was released by earMUSIC (a label part of the Edel group), charting top 20 in Germany (16) and Top 30 in Switzerland. Can't Slow Down debuted at No. 29 on the Billboard 200. The first two singles from the album, "When It Comes to Love" and "In Pieces" both reached the Top 20 on Billboard's Adult Contemporary chart. In 2010 it was awarded a gold certification from the Independent Music Companies Association, which indicated sales of at least 100,000 copies throughout Europe. In early 2010, Foreigner teamed up with Styx and Kansas for the United in Rock Tour. On May 4, 2010, it was announced that Brian Tichy's replacement as drummer would be Jason Sutter. Jason Sutter's time with the band was short as he left by 2011. Mark Schulman then returned to Foreigner for his third go-round as drummer. On February 20, 2011, the band played for the first time in Bangalore, India along with sitar player Niladri Kumar. In June 2011 Foreigner (again along with Styx) co-headlined with Journey on their UK tour. After this, they joined up with Journey and Night Ranger on a triple bill summer/fall tour of the US. For some dates of this tour, Brian Tichy filled in for Foreigner's drummer Mark Schulman when he was not available. From August 19 to September 10, 2011, Night Ranger guitarist Joel Hoekstra did double duty playing for NR as well as subbing for Jones, who had taken ill. Right after this, guitarist Bruce Watson (ex-Rod Stewart) was brought in as Jones' stand-in for the tour's remaining dates and continued to tour with the group when they hit the road again in February 2012 after Jones underwent aortoiliac bypass surgery in Miami. On October 4, 2011, Foreigner released Acoustique, which presented their best and most famous songs, along with some newer tracks, recorded in stripped-down acoustic mode. In May 2012 after being diagnosed with colorectal cancer, Bluestein was forced to take a leave of absence from the band. His stand in on keyboards was Ollie Marland. Bluestein was able to return to the group in August 2012 and Tichy once again rejoined in the interim until his schedule with Whitesnake called him away. In September 2012, the man Tichy replaced in Whitesnake, Chris Frazier, became Foreigner's new percussionist. On August 31, 2012, after over a year away, Jones returned to the concert stage at Atlanta's Chastain Park. Guitarist Watson, in the meantime, stayed on until Jones was able to return to full health. At this very same show, keyboardist Derek Hilland (ex-Iron Butterfly, Whitesnake and Rick Springfield) came on board to sub for Bluestein for the group's late summer/fall tour dates and again during the winter/spring of 2013 until Bluestein was able to return. 2013–present On January 9, 2013, the band's original drummer, Dennis Elliott, joined Foreigner on stage at the Hard Rock Cafe in Hollywood, Florida, to play on "Hot Blooded". In addition to touring small clubs and venues, the band frequently is engaged for private parties and conventions, including playing at SeaWorld in Orlando for an IBM Rational Conference (June 6, 2012), at the Gaylord convention center in Washington, D.C., for the Teradata Partners 2012 conference (October 25, 2012) and at SAP's Field Kickoff Meeting in Las Vegas (January 23, 2013). On June 13, 2013, at the 44th Annual Songwriters Hall of Fame Award Ceremony, Jones and Gramm were officially inducted to the Songwriters Hall of Fame. Billy Joel was on hand to induct Jones and Gramm, singing snippets of Foreigner's hits in his introduction speech. Jones said he was proud as the honor makes his work "legit". The duo then took stage one more time and, along with Thom Gimbel and the house band, performed "Juke Box Hero" and "I Want to Know What Love Is" with Anthony Morgan's Inspirational Choir of Harlem—a performance that brought the entire audience to its feet. In 2014 Foreigner teamed up with Styx and former Eagles guitarist Don Felder for the Soundtrack of Summer Tour. Original bassist Ed Gagliardi died on May 11, 2014, aged 62, after an eight-year battle with cancer. Although discussions of an original member reunion had been proposed, the original band had not performed together since 1979. On June 18, 2014, Foreigner teamed up with the Brockton High School concert choir at the Leader Bank Pavilion in Boston, MA. They performed one of their greatest hits: I Want To Know What Love Is. On January 12, 2015, in Sarasota, Florida, Foreigner were joined on stage by original drummer Dennis Elliott and former bassist Rick Wills to play "Hot Blooded". In Hartford, Connecticut, on June 24, 2015, Foreigner began a summer tour as the opening act for Kid Rock. Foreigner appeared on the "Today Show" on February 11, 2016, along with the choir from Our Lady of Mercy Academy to promote their Acoustic Tour and the release of their new album, In Concert: Unplugged. On Saturday September 24, 2016, Foreigner performed before an estimated 20,000+ people at the 100th anniversary of the Durham Fair in Durham, Connecticut. The encore song "I Want to Know What Love Is" utilized the local Coginchaug High School concert choir for backup—their performance having been rehearsed with the band via Skype during the previous months. In a 2016 interview, Jones talked about a possible 40th-anniversary reunion tour, featuring the Head Games-era lineup: "It's quite possible. We've actually been talking about it. I'm not at a point where I can say it's definitely gonna happen, but we're all working on trying to make it happen. It's kind of exciting. And hopefully it'll be feasible and possible to pull it off next year (2017). Lou (Gramm) and I have communicated and we've kept up a sort of loose communication as I have actually also with Ian McDonald, Al Greenwood, Dennis Elliott and Rick Wills. We're at the early stages, but we're trying to put something together to commemorate (it's scary when I say it) 40 years." On November 25, 2016, in celebration of their 40th anniversary, Foreigner released a limited-edition 10-inch vinyl EP, The Flame Still Burns, on Rhino Records for Record Store Day's Black Friday event. The EP's track listing contained the title song (which had previously appeared on Foreigner's Acoustique album and had earlier been featured in the 1998 film Still Crazy) plus live unplugged versions of "Feels Like The First Time", "Long, Long Way From Home" and "Juke Box Hero". On July 20, 2017, at Jones Beach Theater in New York, the current Foreigner lineup were joined for their encore by Lou Gramm, Ian McDonald and Al Greenwood to help celebrate the band's 40th anniversary and Greenwood and McDonald came back the following year to take the stage with the group for their Jones Beach show on June 22, 2018. Dennis Elliott likewise joined his old mates for two songs at Foreigner's show on August 2, 2017, at MidFlorida Credit Union Amphitheatre in Tampa, Florida. Another reunion was announced for a pair of shows to take place on October 6–7, 2017, at the Soaring Eagle Casino & Resort in Mount Pleasant, Michigan, where the group was set to be joined again by Lou Gramm, Dennis Elliott, Al Greenwood, Ian McDonald and Rick Wills. The concerts were filmed for future release, appearing on PBS stations in the U.S. on June 8, 2018. In a July 2018 interview with OC Weekly, bassist Jeff Pilson said that Foreigner has no plans to release a new studio album, but will continue to release singles periodically. On November 9, 2018, all surviving original members of Foreigner came on stage to play alongside the current line-up for a show at Microsoft Theater in Los Angeles, beginning a series of "Foreigner Then and Now" concerts set to run through the end of the year. In October 2019, the group was slated once again to be joined by the surviving original players for a handful of shows as the Double Vision: Then And Now tour. However, on October 2, it was announced that Lou Gramm would not be taking part in these dates due to illness. Foreigner announced a 2020 summer tour with support from Kansas and Europe called "Juke Box Heroes" in reference to the song of the same name. On May 19, 2020, Foreigner announced the band's Juke Box Heroes 2020 Tour was canceled, due to the COVID-19 pandemic. On March 18, 2021, Pilson announced that Thom Gimbel would be departing from the band. Pilson would later confirm on March 20, 2021, that Foreigner are working on new music: "[But] we are working on some music. So I think that what's gonna happen is whatever other things we release in the next couple of years, there will be some new songs added to it. So that's what I see kind of happening. 'Cause we're working on a few that are not that far away. So I would say expect a package deal to have a couple of new songs on it." Jones has been absent from the band's 2021 tour, leaving no members from the original or classic line up. Thus, none of the band's current line up played on the original versions of any songs. It was falsely reported Jones joined the band at their show in New Brunswick, NJ on October 29, 2021 for Hot Blooded; rather, it was former bassist Wills. Band members Current Mick Jones – lead and rhythm guitars, keyboards, backing and lead vocals Jeff Pilson – bass, keyboards, backing vocals Kelly Hansen – lead vocals, percussion Michael Bluestein – keyboards, backing vocals Bruce Watson – rhythm and lead guitars, backing vocals Chris Frazier – drums, percussion Luis Maldonado – rhythm guitar, bass, backing vocals Former Lou Gramm – lead vocals, percussion Dennis Elliott – drums, percussion, occasional backing vocals Ian McDonald – rhythm and lead guitars, keyboards, saxophone, flute, backing vocals Al Greenwood – keyboards, synthesizers Ed Gagliardi – bass, backing vocals Rick Wills – bass, backing vocals Johnny Edwards – lead vocals, rhythm and lead guitars Jeff Jacobs – keyboards, backing vocals Thom Gimbel – rhythm guitar, keyboards, backing vocals, saxophone, flute Mark Schulman – drums, backing vocals Bruce Turgon – bass, backing vocals Scott Garrett – lead vocals Ron Wikso – drums Brian Tichy – drums Denny Carmassi – drums Jason Bonham – drums Chas West – lead vocals Paul Mirkovich – keyboards Jason Sutter – drums Discography Studio albums Foreigner (1977) Double Vision (1978) Head Games (1979) 4 (1981) Agent Provocateur (1984) Inside Information (1987) Unusual Heat (1991) Mr. Moonlight (1994) Can't Slow Down (2009) See also List of best-selling music artists List of number-one hits (United States) List of number-one albums (United States) List of best-selling albums in the United States List of artists who reached number one in the United States List of artists who reached number one on the U.S. Mainstream Rock chart References External links Lou Gramm's official website 1976 establishments in New York (state) American pop rock music groups Atlantic Records artists British hard rock musical groups British pop rock music groups Hard rock musical groups from New York (state) Musical groups established in 1976 Musical groups from London Musical groups from New York City

C_45ba0c390d3e4ee8989340cd07a4f706_0

Did he leave the band?

Did Kelly Hansen leave Foreigner?

Foreigner (band)

Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004 in Santa Barbara, California at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy with a brand new version of Foreigner that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only and was eventually replaced by former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West briefly continued with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007 - the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. CANNOTANSWER

And in 2008, Bonham also parted ways with Foreigner.

Foreigner is a British-American rock band, originally formed in New York City in 1976 by veteran British guitarist and songwriter Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald, along with American vocalist Lou Gramm. Jones came up with the band's name as he, McDonald and Dennis Elliott were British, whereas Gramm, Al Greenwood and Ed Gagliardi were American. In 1977 Foreigner released its self-titled debut album, the first of four straight albums to be certified at least 5x platinum in the US. Foreigner peaked at No. 4 on the US album chart and in the Top 10 in Canada and Australia, while yielding two Top 10 hits in North America, "Feels Like the First Time" and "Cold as Ice". Their 1978 follow-up, Double Vision, was even more successful peaking at No. 3 in North America with two hit singles, “Hot Blooded” a No. 3 hit in both countries, and the title track, a US No. 2 and a Canadian No. 7. Foreigner's third album, Head Games (1979), went to No. 5 in North America producing two Top 20 singles, including its title track. Reduced to a quartet, their album 4 (1981) hit No. 1 (for 10 weeks) in the US and No. 2 in Canada, while becoming Foreigner's break-through album outside of North America, going Top 5 in the UK, Germany and Australia. Three of 4’s singles were hits: "Urgent" reached No. 1 in Canada and on the new US Rock Tracks chart, rose to No. 4 on the US Hot 100 and became their first Top 15 hit in Germany; the ballad “Waiting for a Girl Like You” peaked at No. 2 in both the US (for a record 10 weeks) and Canada, topped the US Rock Tracks chart and became their first Top 10 hit in the UK and Australia; and "Juke Box Hero" reached No. 3 on the Rock Tracks chart and the Top 30 on the Hot 100. In 1982 Foreigner released its first greatest hits album, Records, which has gone on to sell 7 million copies in the US. In 1984 Foreigner had its biggest hit single, the anthemic ballad "I Want to Know What Love Is", which topped the US, UK, Canadian and Australian charts, while hitting No. 3 in Germany and the Top 10 in numerous other countries. Its source album, Agent Provocateur, was the band's most successful in the UK, Germany and some other countries in Europe, where it peaked at No. 1, and in Australia where it peaked at No. 3, while making the Top 5 in the US and Canada. After a break, Foreigner released Inside Information (1987), which despite the No. 6 US and Australian hit, “Say You Will” (which also rose to No. 1 on the US Rock Tracks chart) and the No. 5 US hit, “I Don’t Want to Live Without You” (which also reached No. 1 on the US Adult Comtemporary chart), had a large sales drop-off, only hitting the Top 10 in a few European countries with a No. 15 peak in the US. The band's most recent albums, Unusual Heat (1991), without Gramm, who departed due to the band's shift towards the use of synthesizers, Mr. Moonlight (1994), with Gramm back on vocals, and Can't Slow Down (2009), once again without Gramm, were not major sellers; the highest chart positions were obtained in Germany, where the last album peaked at No. 16. Foreigner is one of the world's best-selling bands of all time with worldwide sales of more than 80 million records, including 37.5 million in the US. Leader Mick Jones has been for many years the only founding member still involved. Band history Formation, 1976 Since its beginning, Foreigner has been led by English musician Mick Jones (former member of Nero and the Gladiators, Johnny Hallyday's band, Spooky Tooth and The Leslie West Band). After the collapse of the Leslie West Band in 1976, Jones found himself stranded in New York City; West's manager, Bud Prager, encouraged Jones to continue his songwriting and rehearse a band of his own in some space Prager had near his New York office. Jones got together with New York keyboardist Al Greenwood (who had just played with former Flash members Colin Carter and Mike Hough in a group called Storm), drummer Stan Williams and Louisiana bassist Jay Davis (later with Rod Stewart) and began jamming. Another friend, Stories singer Ian Lloyd, was brought in to sing but Jones decided the chemistry was not quite right and retained only Greenwood as he renewed his search for players. During a session for Ian Lloyd's album, Jones met up with transplanted Englishman and ex-King Crimson member Ian McDonald and another session for Ian Hunter unearthed another fellow Brit in drummer Dennis Elliott. But after auditioning about forty or fifty singers, the right vocalist was becoming harder to come by until Jones dragged out an old Black Sheep album given to him backstage at a Spooky Tooth concert a few years prior by that group's lead singer, Lou Gramm. Jones put in a call to Gramm, who was back in his hometown of Rochester, New York, after Black Sheep's break-up, and sent him a plane ticket to New York City. Gramm proved to be the missing piece of the puzzle and Brooklyn bassist Ed Gagliardi completed the new sextet. A name, "Trigger", was tentatively agreed to and was the name that appeared on their demo tape, but it was passed on by all the record companies it was delivered to. John Kalodner, a former journalist and radio programmer who was working in A&R at Atlantic Records, happened to spot a tape on Atlantic president Jerry L. Greenberg's desk with the Trigger identification on it. Kalodner had just been to hear an outfit called Trigger and realized that this was not the same band. He convinced Greenberg that at least one of the songs on the tape could be a big hit and to look into signing this group immediately. Because the Trigger name was already taken, Jones came up with the Foreigner moniker from the fact that no matter what country they were in, three would be foreigners, because he, McDonald and Elliott were English, while Gramm, Greenwood and Gagliardi were American. Debut album, March 1977 In November 1976, after six months of rehearsals, the newly named Foreigner started recording their debut album with producers John Sinclair and Gary Lyons at The Hit Factory but switched to Atlantic Recording Studios where they finished recording the basic tracks and completed the overdubs. The first attempt at mixing the album was done at Sarm Studios, London. But, because of the band's dissatisfaction with the results, the album was re-mixed back at Atlantic by Mick Jones, Ian McDonald and Jimmy Douglass. Bud Prager signed on as the group's manager, a role he would continue in for the next 17 years. The band's debut, Foreigner, was released in March 1977 and was certified for sales of five million copies in the United States, staying in the Top 20 for a year with a peak at No. 4. It also made the Top 10 in both Canada and Australia and went to No. 1 in Norway. Foreigner had three significant hits in North America with "Feels Like the First Time" hitting No. 4 in the US and No. 7 in Canada, "Cold as Ice" reaching No. 6 and No. 9 in the countries and "Long, Long Way from Home" peaking at around No. 20. "Cold as Ice" was also modestly successful in the UK, Australia, the Netherlands and Belgium where it reached the Top 20 or 30. 1977–1990 By May 1977, Foreigner was already headlining theaters and had already scored a gold record for the first album. Not long afterwards, they were selling out U.S. basketball arenas and hockey rinks. After a show at Memorial Hall in Kansas City, Kansas, on May 6, 1977, drummer Elliott injured his hand, prompting the band to call in Ian Wallace (ex-King Crimson) to play alongside Elliott on some of the dates until the hand was healed. After almost a year on the road, the band played before over two hundred thousand people at California Jam II on March 18, 1978, and during the following month, the band toured Europe, Japan and Australia for the first time. Their second album, Double Vision (released in June 1978), co-produced by Keith Olsen, topped their previous, selling seven million records in the US, peaking at No. 3 in both the US and Canada, while dropping to No. 13 in Australia. It was the band's first album to chart in the UK where it peaked at No. 32, but Double Vision (and their next two albums) did not chart in Norway where their debut album had gone No. 1. The album spawned hits that were even more successful in North America than those from their debut album with "Hot Blooded" hitting No. 3 in both countries, the title track "Double Vision" reaching No. 2 in the US and No. 7 in Canada with "Blue Morning, Blue Day" reaching No. 15 and No. 21. Aside from "Hot Blooded" reaching No. 24 in Australia there was little airplay or sales in other countries for the singles from Double Vision or from their next album, Head Games. Album number three, Head Games (September 1979), co-produced by Roy Thomas Baker, which was referred to by Gramm as their "grainiest" album, was also successful, in this case because of the thunderous "Dirty White Boy" and another title track hit "Head Games". Both songs were Top 15 hits in the US and Canada but did not chart in any other counties. The album reached No. 5 in North America but its sales dropped off substantially in Australia (No. 45) without any gains in any other countries. For Head Games, bassist Ed Gagliardi was replaced by Englishman Rick Wills. In his autobiography, Juke Box Hero (named after the seminal Foreigner song), Gramm explains why the band parted ways with Gagliardi: "He was a little headstrong and had his own ideas that weren't always compatible with what we were trying to accomplish. Ed was obstinate at times, playing the song the way he wanted to play it rather than the way it was drawn up. Jones often had to stop sessions to get Ed back on track. After a while it became tiresome and slowed down the recording process." Gramm went on to say that he was disappointed overall with Head Games and thought it sounded unfinished. It ended up selling about two million fewer than its predecessor. In September 1980 co-founders Al Greenwood and Ian McDonald were sacked as Jones wished to have more control over the band and write most of the music (along with Gramm). In his book, Gramm goes on to talk about this difficult time: "The chemistry that made the band right in the beginning didn't necessarily mean it would always be right. I think a pretty major communication lapse appeared and I don't think anybody really knew what anybody was feeling—the deep, inner belief about the direction of the band and how we were progressing. We had reached a point where there was a lot of dissatisfaction". In the liner notes for the 2000 release, Juke Box Heroes: The Foreigner Anthology, Jones went on to elaborate further: "Ian McDonald, who I consider a great musician and multi-instrumentalist, began to focus more and more on guitar playing, while I believed his true talent lay more in the dimensional and creative imagery he gave the first two albums. Al Greenwood, our keyboard wiz and a very important part of the Foreigner sound at the beginning, had also started to focus more on songwriting. Although both their contributions to the band had been vital, a conflict was developing about the musical direction of the band. I just felt we needed to clarify it. So Lou, Rick, Dennis and I made the decision, and that's when we went down to four." And according to McDonald in a 1999 interview, "Mick and Lou decided they wanted to be the focus of the band. Mick wanted to make it more apparent that it was his group, so he decided to make a smaller group. That was his decision. I wouldn't have left—I loved the group, it was not my decision." McDonald noted that there was much creative compromise working in the band and that he did more than he received credit for, much as he did in King Crimson. McDonald stated that "he had a lot to do with the making of those records and the arrangements and the creating of those songs, more than is probably apparent. I did a lot that went uncredited, which I was happy to do though. When you're in a group you must contribute as much as you can. I was happy to do that. But as I said, it maybe didn't appear that I was doing as much as I in fact was. I had a lot to do with that group... as well as... Mick Jones, obviously, and everyone else—I'm not trying to take all the credit, but I'm just saying that I was there, I was involved, and I loved it." The band was now stripped down to a quartet, with session players brought in as needed to record or tour (see below for complete list of members). Greenwood soon joined Gagliardi to form the AOR band Spys, with John Blanco, Billy Milne and John DiGaudio. The band released two albums, an eponymous debut, and the follow-up Behind Enemy Lines. In the meantime, Foreigner began work on the next album at Electric Lady Studios in New York City with producer Robert John "Mutt" Lange, engineered by Dave Wittman (currently with Trans-Siberian Orchestra). 4 (released in July 1981) contained the hits "Urgent" (which includes the famous Junior Walker sax solo), "Waiting for a Girl Like You", "Juke Box Hero" and "Break it Up". Before releasing albums of his own, Thomas Dolby played synthesizers on 4 (he contributed the signature synth sound on "Urgent" and played the intro to "Waiting for a Girl Like You"). 4 became Foreigners first and only No 1. album in the US, spending 10 weeks in that position, and peaked at No. 2 in Canada. It also became the band's break-through album overseas, reaching the Top 5 in the UK, Germany and Australia. The first single, "Urgent" peaked at No. 4 on the US Hot 100 and topped US Album Rock Tracks chart and the Canadian RPM Singles Chart. It also became their biggest hit to date in Germany reaching the Top 15 there, higher than the other singles from the album, but was less successful in Australia, peaking at No. 24 and the UK, where it did not chart. The second single, "Juke Box Hero" was very successful on rock stations in North America, reaching No. 3 on the US Rock Tracks chart, but only reached No. 26 on the US Hot 100 and No. 39 in Canada, while reaching the Top 30 in Germany and France, their first song to chart in the later. The third single released, the power ballad, “Waiting for a Girl Like You”, went to No. 2 on the US Hot 100 for a record 10 consecutive weeks and, like "Urgent", topped the US Rock Tracks chart. It also went to No. 2 in Canada and also became their first single to reach the Top 10 in the UK (No. 8) and Australia (No. 3) while reaching the Top 20 in the Netherlands and Belgium and the Top 30 in Germany and France. For their 1981–82 tour in support of 4, the group added Peter Reilich (keyboards, synthesizers, who had played with Gary Wright), former Peter Frampton band member Bob Mayo (keyboards, synthesizers, guitar, backing vocals) and Mark Rivera (sax, flute, keyboards, synthesizers, guitar, backing vocals). Mayo and Rivera had also appeared on the sessions for 4. Reilich was dropped in May 1982 but Mayo and Rivera continued with the band through 1988. Foreigner's next album, Agent Provocateur, co-produced by Alex Sadkin, was released in December 1984 and in 1985 gave them their first and only No. 1 hit song in the US and several other countries (except for Canada were "Urgent" had done the trick) when "I Want to Know What Love Is", a ballad backed by Jennifer Holliday and the New Jersey Mass Choir, topped the charts in the US (both Hot 100 and Rock Tracks), UK, Canada, Australia, New Zealand, Norway, Sweden, etc. while hitting No. 3 in Germany (their only Top 10 hit there), No. 4 in France (their only Top 20 hit there) and No. 6 in both the Netherlands and Belgium. "That Was Yesterday" was the next single from the album in early 1985 and proved to be another sizable hit reaching No. 12 on the US Hot 100 (No. 4 on Rock Tracks) and the Top 30 in several other countries. The album was equally successful becoming Foreigner's only No. 1 album in the UK, Germany and Norway while reaching No. 3 in Australia (its biggest album there) and Canada, and No. 4 in the US and New Zealand (its biggest album there). It was certified 3x platinum in the US, their lowest selling album to date in that country. During their 1985 summer/fall tour, Foreigner appeared at the first Farm Aid on September 22 in Champaign, Illinois. In between his Foreigner commitments, Jones also started a side career as a producer for such albums as Van Halen's 5150 (1986), Bad Company's Fame and Fortune (1986) and Billy Joel's Storm Front (1989). In December 1987 Foreigner released Inside Information, spawning hits such as "Say You Will" and "I Don't Want to Live Without You". On May 14, 1988, the band headlined Atlantic Records 40th Anniversary concert at Madison Square Garden, culminating with "I Want to Know What Love Is", in which the likes of Phil Collins, Crosby, Stills and Nash, Roberta Flack and other Atlantic artists joined in, singing in the choir. Later during the summer, the band went back on the road but the touring for Inside Information was limited to Europe, Japan and Australia. For this tour, Rivera and Mayo were not available, so Larry Oakes (guitar, keyboards, synthesizers, backing vocals) and Lou Cortelezzi (sax) augmented the quartet of Gramm, Jones, Elliott and Wills. Lead vocalist Gramm's departure, May 1990 In the late 1980s, Jones and Gramm each put out solo efforts on Atlantic. Gramm released Ready or Not in January 1987 and shortly after its release, rehearsals for Foreigner's next album had started but ground to a halt as Gramm's status with the group was uncertain. But after the promotion and concert dates for Gramm's album were finished, cooler heads prevailed and Lou rejoined Foreigner in the studio for Inside Information, which was out at the end of 1987. Jones had Mick Jones in August 1989, then Gramm followed with his second solo release, Long Hard Look (October 1989), and decided to leave the group in May 1990 while preparing to tour behind Long Hard Look as the opener for Steve Miller Band. After finishing this tour, Gramm went on to form the short-lived band Shadow King, which put out one eponymous album on Atlantic in October 1991. Meanwhile, Jones brought in a new lead singer, Johnny Edwards (formerly of the bands Buster Brown, Montrose, King Kobra, Northrup and Wild Horses). Edwards made his first live appearance with Foreigner at the Long Island club Stephen Talkhouse on August 15, 1990, where he, Jones, Dennis Elliott and Rick Wills appeared, joined by special guests Terry Thomas (on guitar, who produced their next album) and Eddie Mack on harmonica. The new edition of Foreigner released the album Unusual Heat in June 1991. This was at the time their worst-selling album and only climbed as high as No. 117 on the Billboard 200, although "Lowdown and Dirty" was a minor mainstream rock hit, reaching No. 4 on that chart. In July 1991 the new lineup of Foreigner played some European dates then made its official U.S. debut on August 9 performing on the second night of a Billy Joel benefit concert at Deep Hollow Ranch in Montauk, New York, to raise funds for the preservation of Montauk Point Lighthouse. For their 1991 tour, Jeff Jacobs, who had played in Joel's band, was brought in as the new keyboardist and Mark Rivera returned. But during the fall leg of this tour, Elliott decided to leave the group after a concert at The Ritz in NYC on November 14, 1991, and embark on a career as a wood sculptor. Larry Aberman was then recruited as a temporary replacement until Mark Schulman arrived in 1992 as drummer for the next three years. Scott Gilman (guitar, sax, flute) joined the touring band in 1992 and Thom Gimbel took over from Gilman and Rivera in late 1992 after they departed. When Gimbel went to Aerosmith in 1993, Gilman returned to handle the guitar/sax/flute duties until Gimbel came back permanently in the spring of 1995. Gramm returns, 1992 During the Los Angeles riots, inside the confines of the Sunset Marquis Hotel in West Hollywood, where Mick Jones had gone to meet with Lou Gramm, they both ended up sequestered by a city curfew. They decided to use their time together resurrecting their partnership. "I flew to Los Angeles, during the riots," says Gramm. "We got flown to John Wayne Airport instead of LAX because they were shooting at the planes. Mick and I were holed up in the Sunset Marquis in L.A., with armed security guards walking around on the roof. It was a little weird, to say the least." Gramm ended up rejoining Foreigner, bringing along his Shadow King bandmate bassist Bruce Turgon to replace bassist Wills (who'd left after the band's 1991 tour after a falling out with Jones) and co-produced the band's second greatest hits album, The Very Best ... and Beyond (September 1992), which included three new songs. 1994–2003 In October 1994 Foreigner released what was supposed to be a comeback album, Mr. Moonlight, in Japan. Featuring new drummer Mark Schulman and augmented by a fifth member, keyboardist Jeff Jacobs, this album was not released in the U.S. until February 1995 and fared even worse than Unusual Heat. It only peaked at No. 136 on the Billboard 200, although the ballad "Until the End of Time" was a minor hit, reaching No. 42 on the Billboard Hot 100. In January 1995 Ron Wikso (who had played in The Storm with former Journey members Gregg Rolie and Ross Valory) took over percussion duties from Schulman, and Brian Tichy succeeded Wikso in 1998 before Schulman would return in 2000. In 1997 Gramm underwent surgery to remove a brain tumor. The medications he was prescribed caused considerable weight gain and weakened his singing voice. By 1998, the band was back on the road, but Gramm was visibly struggling and it would take him several years to get back to the point where he felt comfortable on stage. In the summer of 1999, Foreigner went on tour as the opening act for Journey and the following summer, Jeff Jacobs had to leave the road for a short time during the band's 2000 summer tour while his wife was giving birth to their child. Keyboardist John Purdell (who had been co-producer of the new tracks on their 1992 album The Very Best of ... and Beyond) stepped in to sub for Jacobs until he was able to return. Vocalist Scott Garrett of the tribute band "Cold as ice" stepped in for Gramm on lead vocals. In 2001 the Warner Music Group selected Foreigner and 4 to be among the first group of albums from their catalog to be remastered, enhanced and released in the new DVD Audio format. In 2002 the 25th Anniversary Year brought affirmation of the enduring respect for Foreigner recordings with Rhino Entertainment reissuing the 1977 to 1981 multi-platinum albums in special enhanced formats. Foreigner, Double Vision, Head Games and 4 received the attention of Rhino's staff with new photos, liner notes and bonus tracks of previously unreleased material. New greatest hits albums were also produced in the U.S. and in Europe. The U.S. version reached No. 80 on the Billboard 200 Album chart. For the group's 25th Anniversary Tour in 2002, they were joined by former Heart and Montrose beat keeper Denny Carmassi. In late October/early November, then December, of 2002, Foreigner played in Belgium and Germany at the annual Night of the Proms festival. It was the last time that Lou Gramm and Mick Jones would play together until June 2013. Gramm would leave the group in early 2003. Jones stated that he and Gramm split because they weren't communicating: "I think we really tried hard to save it, but it got to the point when we both realized that to go on would be detrimental for both of us." New lead vocalist Kelly Hansen, March 2005 Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004, in Santa Barbara, California, at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy dubbed "Mick Jones & Friends" that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only. Inspired by the event and further encouraged by Jason Bonham, Jones continued the search for a new frontman. He would eventually find former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West appeared briefly with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Can't Slow Down, Jones' health issues, and Acoustique (2007–2012) Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007—the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. Foreigner released a new album on September 29, 2009, titled Can't Slow Down. It was one of several recent classic rock releases (AC/DC, the Eagles, Journey and Kiss being four others) to be released exclusively through the Walmart stores chain in the US, while in Europe the album was released by earMUSIC (a label part of the Edel group), charting top 20 in Germany (16) and Top 30 in Switzerland. Can't Slow Down debuted at No. 29 on the Billboard 200. The first two singles from the album, "When It Comes to Love" and "In Pieces" both reached the Top 20 on Billboard's Adult Contemporary chart. In 2010 it was awarded a gold certification from the Independent Music Companies Association, which indicated sales of at least 100,000 copies throughout Europe. In early 2010, Foreigner teamed up with Styx and Kansas for the United in Rock Tour. On May 4, 2010, it was announced that Brian Tichy's replacement as drummer would be Jason Sutter. Jason Sutter's time with the band was short as he left by 2011. Mark Schulman then returned to Foreigner for his third go-round as drummer. On February 20, 2011, the band played for the first time in Bangalore, India along with sitar player Niladri Kumar. In June 2011 Foreigner (again along with Styx) co-headlined with Journey on their UK tour. After this, they joined up with Journey and Night Ranger on a triple bill summer/fall tour of the US. For some dates of this tour, Brian Tichy filled in for Foreigner's drummer Mark Schulman when he was not available. From August 19 to September 10, 2011, Night Ranger guitarist Joel Hoekstra did double duty playing for NR as well as subbing for Jones, who had taken ill. Right after this, guitarist Bruce Watson (ex-Rod Stewart) was brought in as Jones' stand-in for the tour's remaining dates and continued to tour with the group when they hit the road again in February 2012 after Jones underwent aortoiliac bypass surgery in Miami. On October 4, 2011, Foreigner released Acoustique, which presented their best and most famous songs, along with some newer tracks, recorded in stripped-down acoustic mode. In May 2012 after being diagnosed with colorectal cancer, Bluestein was forced to take a leave of absence from the band. His stand in on keyboards was Ollie Marland. Bluestein was able to return to the group in August 2012 and Tichy once again rejoined in the interim until his schedule with Whitesnake called him away. In September 2012, the man Tichy replaced in Whitesnake, Chris Frazier, became Foreigner's new percussionist. On August 31, 2012, after over a year away, Jones returned to the concert stage at Atlanta's Chastain Park. Guitarist Watson, in the meantime, stayed on until Jones was able to return to full health. At this very same show, keyboardist Derek Hilland (ex-Iron Butterfly, Whitesnake and Rick Springfield) came on board to sub for Bluestein for the group's late summer/fall tour dates and again during the winter/spring of 2013 until Bluestein was able to return. 2013–present On January 9, 2013, the band's original drummer, Dennis Elliott, joined Foreigner on stage at the Hard Rock Cafe in Hollywood, Florida, to play on "Hot Blooded". In addition to touring small clubs and venues, the band frequently is engaged for private parties and conventions, including playing at SeaWorld in Orlando for an IBM Rational Conference (June 6, 2012), at the Gaylord convention center in Washington, D.C., for the Teradata Partners 2012 conference (October 25, 2012) and at SAP's Field Kickoff Meeting in Las Vegas (January 23, 2013). On June 13, 2013, at the 44th Annual Songwriters Hall of Fame Award Ceremony, Jones and Gramm were officially inducted to the Songwriters Hall of Fame. Billy Joel was on hand to induct Jones and Gramm, singing snippets of Foreigner's hits in his introduction speech. Jones said he was proud as the honor makes his work "legit". The duo then took stage one more time and, along with Thom Gimbel and the house band, performed "Juke Box Hero" and "I Want to Know What Love Is" with Anthony Morgan's Inspirational Choir of Harlem—a performance that brought the entire audience to its feet. In 2014 Foreigner teamed up with Styx and former Eagles guitarist Don Felder for the Soundtrack of Summer Tour. Original bassist Ed Gagliardi died on May 11, 2014, aged 62, after an eight-year battle with cancer. Although discussions of an original member reunion had been proposed, the original band had not performed together since 1979. On June 18, 2014, Foreigner teamed up with the Brockton High School concert choir at the Leader Bank Pavilion in Boston, MA. They performed one of their greatest hits: I Want To Know What Love Is. On January 12, 2015, in Sarasota, Florida, Foreigner were joined on stage by original drummer Dennis Elliott and former bassist Rick Wills to play "Hot Blooded". In Hartford, Connecticut, on June 24, 2015, Foreigner began a summer tour as the opening act for Kid Rock. Foreigner appeared on the "Today Show" on February 11, 2016, along with the choir from Our Lady of Mercy Academy to promote their Acoustic Tour and the release of their new album, In Concert: Unplugged. On Saturday September 24, 2016, Foreigner performed before an estimated 20,000+ people at the 100th anniversary of the Durham Fair in Durham, Connecticut. The encore song "I Want to Know What Love Is" utilized the local Coginchaug High School concert choir for backup—their performance having been rehearsed with the band via Skype during the previous months. In a 2016 interview, Jones talked about a possible 40th-anniversary reunion tour, featuring the Head Games-era lineup: "It's quite possible. We've actually been talking about it. I'm not at a point where I can say it's definitely gonna happen, but we're all working on trying to make it happen. It's kind of exciting. And hopefully it'll be feasible and possible to pull it off next year (2017). Lou (Gramm) and I have communicated and we've kept up a sort of loose communication as I have actually also with Ian McDonald, Al Greenwood, Dennis Elliott and Rick Wills. We're at the early stages, but we're trying to put something together to commemorate (it's scary when I say it) 40 years." On November 25, 2016, in celebration of their 40th anniversary, Foreigner released a limited-edition 10-inch vinyl EP, The Flame Still Burns, on Rhino Records for Record Store Day's Black Friday event. The EP's track listing contained the title song (which had previously appeared on Foreigner's Acoustique album and had earlier been featured in the 1998 film Still Crazy) plus live unplugged versions of "Feels Like The First Time", "Long, Long Way From Home" and "Juke Box Hero". On July 20, 2017, at Jones Beach Theater in New York, the current Foreigner lineup were joined for their encore by Lou Gramm, Ian McDonald and Al Greenwood to help celebrate the band's 40th anniversary and Greenwood and McDonald came back the following year to take the stage with the group for their Jones Beach show on June 22, 2018. Dennis Elliott likewise joined his old mates for two songs at Foreigner's show on August 2, 2017, at MidFlorida Credit Union Amphitheatre in Tampa, Florida. Another reunion was announced for a pair of shows to take place on October 6–7, 2017, at the Soaring Eagle Casino & Resort in Mount Pleasant, Michigan, where the group was set to be joined again by Lou Gramm, Dennis Elliott, Al Greenwood, Ian McDonald and Rick Wills. The concerts were filmed for future release, appearing on PBS stations in the U.S. on June 8, 2018. In a July 2018 interview with OC Weekly, bassist Jeff Pilson said that Foreigner has no plans to release a new studio album, but will continue to release singles periodically. On November 9, 2018, all surviving original members of Foreigner came on stage to play alongside the current line-up for a show at Microsoft Theater in Los Angeles, beginning a series of "Foreigner Then and Now" concerts set to run through the end of the year. In October 2019, the group was slated once again to be joined by the surviving original players for a handful of shows as the Double Vision: Then And Now tour. However, on October 2, it was announced that Lou Gramm would not be taking part in these dates due to illness. Foreigner announced a 2020 summer tour with support from Kansas and Europe called "Juke Box Heroes" in reference to the song of the same name. On May 19, 2020, Foreigner announced the band's Juke Box Heroes 2020 Tour was canceled, due to the COVID-19 pandemic. On March 18, 2021, Pilson announced that Thom Gimbel would be departing from the band. Pilson would later confirm on March 20, 2021, that Foreigner are working on new music: "[But] we are working on some music. So I think that what's gonna happen is whatever other things we release in the next couple of years, there will be some new songs added to it. So that's what I see kind of happening. 'Cause we're working on a few that are not that far away. So I would say expect a package deal to have a couple of new songs on it." Jones has been absent from the band's 2021 tour, leaving no members from the original or classic line up. Thus, none of the band's current line up played on the original versions of any songs. It was falsely reported Jones joined the band at their show in New Brunswick, NJ on October 29, 2021 for Hot Blooded; rather, it was former bassist Wills. Band members Current Mick Jones – lead and rhythm guitars, keyboards, backing and lead vocals Jeff Pilson – bass, keyboards, backing vocals Kelly Hansen – lead vocals, percussion Michael Bluestein – keyboards, backing vocals Bruce Watson – rhythm and lead guitars, backing vocals Chris Frazier – drums, percussion Luis Maldonado – rhythm guitar, bass, backing vocals Former Lou Gramm – lead vocals, percussion Dennis Elliott – drums, percussion, occasional backing vocals Ian McDonald – rhythm and lead guitars, keyboards, saxophone, flute, backing vocals Al Greenwood – keyboards, synthesizers Ed Gagliardi – bass, backing vocals Rick Wills – bass, backing vocals Johnny Edwards – lead vocals, rhythm and lead guitars Jeff Jacobs – keyboards, backing vocals Thom Gimbel – rhythm guitar, keyboards, backing vocals, saxophone, flute Mark Schulman – drums, backing vocals Bruce Turgon – bass, backing vocals Scott Garrett – lead vocals Ron Wikso – drums Brian Tichy – drums Denny Carmassi – drums Jason Bonham – drums Chas West – lead vocals Paul Mirkovich – keyboards Jason Sutter – drums Discography Studio albums Foreigner (1977) Double Vision (1978) Head Games (1979) 4 (1981) Agent Provocateur (1984) Inside Information (1987) Unusual Heat (1991) Mr. Moonlight (1994) Can't Slow Down (2009) See also List of best-selling music artists List of number-one hits (United States) List of number-one albums (United States) List of best-selling albums in the United States List of artists who reached number one in the United States List of artists who reached number one on the U.S. Mainstream Rock chart References External links Lou Gramm's official website 1976 establishments in New York (state) American pop rock music groups Atlantic Records artists British hard rock musical groups British pop rock music groups Hard rock musical groups from New York (state) Musical groups established in 1976 Musical groups from London Musical groups from New York City

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Why did he depart from Foreigner?

Why did Kelly Hansen depart from Foreigner?

Foreigner (band)

Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004 in Santa Barbara, California at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy with a brand new version of Foreigner that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only and was eventually replaced by former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West briefly continued with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007 - the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. CANNOTANSWER

CANNOTANSWER

Foreigner is a British-American rock band, originally formed in New York City in 1976 by veteran British guitarist and songwriter Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald, along with American vocalist Lou Gramm. Jones came up with the band's name as he, McDonald and Dennis Elliott were British, whereas Gramm, Al Greenwood and Ed Gagliardi were American. In 1977 Foreigner released its self-titled debut album, the first of four straight albums to be certified at least 5x platinum in the US. Foreigner peaked at No. 4 on the US album chart and in the Top 10 in Canada and Australia, while yielding two Top 10 hits in North America, "Feels Like the First Time" and "Cold as Ice". Their 1978 follow-up, Double Vision, was even more successful peaking at No. 3 in North America with two hit singles, “Hot Blooded” a No. 3 hit in both countries, and the title track, a US No. 2 and a Canadian No. 7. Foreigner's third album, Head Games (1979), went to No. 5 in North America producing two Top 20 singles, including its title track. Reduced to a quartet, their album 4 (1981) hit No. 1 (for 10 weeks) in the US and No. 2 in Canada, while becoming Foreigner's break-through album outside of North America, going Top 5 in the UK, Germany and Australia. Three of 4’s singles were hits: "Urgent" reached No. 1 in Canada and on the new US Rock Tracks chart, rose to No. 4 on the US Hot 100 and became their first Top 15 hit in Germany; the ballad “Waiting for a Girl Like You” peaked at No. 2 in both the US (for a record 10 weeks) and Canada, topped the US Rock Tracks chart and became their first Top 10 hit in the UK and Australia; and "Juke Box Hero" reached No. 3 on the Rock Tracks chart and the Top 30 on the Hot 100. In 1982 Foreigner released its first greatest hits album, Records, which has gone on to sell 7 million copies in the US. In 1984 Foreigner had its biggest hit single, the anthemic ballad "I Want to Know What Love Is", which topped the US, UK, Canadian and Australian charts, while hitting No. 3 in Germany and the Top 10 in numerous other countries. Its source album, Agent Provocateur, was the band's most successful in the UK, Germany and some other countries in Europe, where it peaked at No. 1, and in Australia where it peaked at No. 3, while making the Top 5 in the US and Canada. After a break, Foreigner released Inside Information (1987), which despite the No. 6 US and Australian hit, “Say You Will” (which also rose to No. 1 on the US Rock Tracks chart) and the No. 5 US hit, “I Don’t Want to Live Without You” (which also reached No. 1 on the US Adult Comtemporary chart), had a large sales drop-off, only hitting the Top 10 in a few European countries with a No. 15 peak in the US. The band's most recent albums, Unusual Heat (1991), without Gramm, who departed due to the band's shift towards the use of synthesizers, Mr. Moonlight (1994), with Gramm back on vocals, and Can't Slow Down (2009), once again without Gramm, were not major sellers; the highest chart positions were obtained in Germany, where the last album peaked at No. 16. Foreigner is one of the world's best-selling bands of all time with worldwide sales of more than 80 million records, including 37.5 million in the US. Leader Mick Jones has been for many years the only founding member still involved. Band history Formation, 1976 Since its beginning, Foreigner has been led by English musician Mick Jones (former member of Nero and the Gladiators, Johnny Hallyday's band, Spooky Tooth and The Leslie West Band). After the collapse of the Leslie West Band in 1976, Jones found himself stranded in New York City; West's manager, Bud Prager, encouraged Jones to continue his songwriting and rehearse a band of his own in some space Prager had near his New York office. Jones got together with New York keyboardist Al Greenwood (who had just played with former Flash members Colin Carter and Mike Hough in a group called Storm), drummer Stan Williams and Louisiana bassist Jay Davis (later with Rod Stewart) and began jamming. Another friend, Stories singer Ian Lloyd, was brought in to sing but Jones decided the chemistry was not quite right and retained only Greenwood as he renewed his search for players. During a session for Ian Lloyd's album, Jones met up with transplanted Englishman and ex-King Crimson member Ian McDonald and another session for Ian Hunter unearthed another fellow Brit in drummer Dennis Elliott. But after auditioning about forty or fifty singers, the right vocalist was becoming harder to come by until Jones dragged out an old Black Sheep album given to him backstage at a Spooky Tooth concert a few years prior by that group's lead singer, Lou Gramm. Jones put in a call to Gramm, who was back in his hometown of Rochester, New York, after Black Sheep's break-up, and sent him a plane ticket to New York City. Gramm proved to be the missing piece of the puzzle and Brooklyn bassist Ed Gagliardi completed the new sextet. A name, "Trigger", was tentatively agreed to and was the name that appeared on their demo tape, but it was passed on by all the record companies it was delivered to. John Kalodner, a former journalist and radio programmer who was working in A&R at Atlantic Records, happened to spot a tape on Atlantic president Jerry L. Greenberg's desk with the Trigger identification on it. Kalodner had just been to hear an outfit called Trigger and realized that this was not the same band. He convinced Greenberg that at least one of the songs on the tape could be a big hit and to look into signing this group immediately. Because the Trigger name was already taken, Jones came up with the Foreigner moniker from the fact that no matter what country they were in, three would be foreigners, because he, McDonald and Elliott were English, while Gramm, Greenwood and Gagliardi were American. Debut album, March 1977 In November 1976, after six months of rehearsals, the newly named Foreigner started recording their debut album with producers John Sinclair and Gary Lyons at The Hit Factory but switched to Atlantic Recording Studios where they finished recording the basic tracks and completed the overdubs. The first attempt at mixing the album was done at Sarm Studios, London. But, because of the band's dissatisfaction with the results, the album was re-mixed back at Atlantic by Mick Jones, Ian McDonald and Jimmy Douglass. Bud Prager signed on as the group's manager, a role he would continue in for the next 17 years. The band's debut, Foreigner, was released in March 1977 and was certified for sales of five million copies in the United States, staying in the Top 20 for a year with a peak at No. 4. It also made the Top 10 in both Canada and Australia and went to No. 1 in Norway. Foreigner had three significant hits in North America with "Feels Like the First Time" hitting No. 4 in the US and No. 7 in Canada, "Cold as Ice" reaching No. 6 and No. 9 in the countries and "Long, Long Way from Home" peaking at around No. 20. "Cold as Ice" was also modestly successful in the UK, Australia, the Netherlands and Belgium where it reached the Top 20 or 30. 1977–1990 By May 1977, Foreigner was already headlining theaters and had already scored a gold record for the first album. Not long afterwards, they were selling out U.S. basketball arenas and hockey rinks. After a show at Memorial Hall in Kansas City, Kansas, on May 6, 1977, drummer Elliott injured his hand, prompting the band to call in Ian Wallace (ex-King Crimson) to play alongside Elliott on some of the dates until the hand was healed. After almost a year on the road, the band played before over two hundred thousand people at California Jam II on March 18, 1978, and during the following month, the band toured Europe, Japan and Australia for the first time. Their second album, Double Vision (released in June 1978), co-produced by Keith Olsen, topped their previous, selling seven million records in the US, peaking at No. 3 in both the US and Canada, while dropping to No. 13 in Australia. It was the band's first album to chart in the UK where it peaked at No. 32, but Double Vision (and their next two albums) did not chart in Norway where their debut album had gone No. 1. The album spawned hits that were even more successful in North America than those from their debut album with "Hot Blooded" hitting No. 3 in both countries, the title track "Double Vision" reaching No. 2 in the US and No. 7 in Canada with "Blue Morning, Blue Day" reaching No. 15 and No. 21. Aside from "Hot Blooded" reaching No. 24 in Australia there was little airplay or sales in other countries for the singles from Double Vision or from their next album, Head Games. Album number three, Head Games (September 1979), co-produced by Roy Thomas Baker, which was referred to by Gramm as their "grainiest" album, was also successful, in this case because of the thunderous "Dirty White Boy" and another title track hit "Head Games". Both songs were Top 15 hits in the US and Canada but did not chart in any other counties. The album reached No. 5 in North America but its sales dropped off substantially in Australia (No. 45) without any gains in any other countries. For Head Games, bassist Ed Gagliardi was replaced by Englishman Rick Wills. In his autobiography, Juke Box Hero (named after the seminal Foreigner song), Gramm explains why the band parted ways with Gagliardi: "He was a little headstrong and had his own ideas that weren't always compatible with what we were trying to accomplish. Ed was obstinate at times, playing the song the way he wanted to play it rather than the way it was drawn up. Jones often had to stop sessions to get Ed back on track. After a while it became tiresome and slowed down the recording process." Gramm went on to say that he was disappointed overall with Head Games and thought it sounded unfinished. It ended up selling about two million fewer than its predecessor. In September 1980 co-founders Al Greenwood and Ian McDonald were sacked as Jones wished to have more control over the band and write most of the music (along with Gramm). In his book, Gramm goes on to talk about this difficult time: "The chemistry that made the band right in the beginning didn't necessarily mean it would always be right. I think a pretty major communication lapse appeared and I don't think anybody really knew what anybody was feeling—the deep, inner belief about the direction of the band and how we were progressing. We had reached a point where there was a lot of dissatisfaction". In the liner notes for the 2000 release, Juke Box Heroes: The Foreigner Anthology, Jones went on to elaborate further: "Ian McDonald, who I consider a great musician and multi-instrumentalist, began to focus more and more on guitar playing, while I believed his true talent lay more in the dimensional and creative imagery he gave the first two albums. Al Greenwood, our keyboard wiz and a very important part of the Foreigner sound at the beginning, had also started to focus more on songwriting. Although both their contributions to the band had been vital, a conflict was developing about the musical direction of the band. I just felt we needed to clarify it. So Lou, Rick, Dennis and I made the decision, and that's when we went down to four." And according to McDonald in a 1999 interview, "Mick and Lou decided they wanted to be the focus of the band. Mick wanted to make it more apparent that it was his group, so he decided to make a smaller group. That was his decision. I wouldn't have left—I loved the group, it was not my decision." McDonald noted that there was much creative compromise working in the band and that he did more than he received credit for, much as he did in King Crimson. McDonald stated that "he had a lot to do with the making of those records and the arrangements and the creating of those songs, more than is probably apparent. I did a lot that went uncredited, which I was happy to do though. When you're in a group you must contribute as much as you can. I was happy to do that. But as I said, it maybe didn't appear that I was doing as much as I in fact was. I had a lot to do with that group... as well as... Mick Jones, obviously, and everyone else—I'm not trying to take all the credit, but I'm just saying that I was there, I was involved, and I loved it." The band was now stripped down to a quartet, with session players brought in as needed to record or tour (see below for complete list of members). Greenwood soon joined Gagliardi to form the AOR band Spys, with John Blanco, Billy Milne and John DiGaudio. The band released two albums, an eponymous debut, and the follow-up Behind Enemy Lines. In the meantime, Foreigner began work on the next album at Electric Lady Studios in New York City with producer Robert John "Mutt" Lange, engineered by Dave Wittman (currently with Trans-Siberian Orchestra). 4 (released in July 1981) contained the hits "Urgent" (which includes the famous Junior Walker sax solo), "Waiting for a Girl Like You", "Juke Box Hero" and "Break it Up". Before releasing albums of his own, Thomas Dolby played synthesizers on 4 (he contributed the signature synth sound on "Urgent" and played the intro to "Waiting for a Girl Like You"). 4 became Foreigners first and only No 1. album in the US, spending 10 weeks in that position, and peaked at No. 2 in Canada. It also became the band's break-through album overseas, reaching the Top 5 in the UK, Germany and Australia. The first single, "Urgent" peaked at No. 4 on the US Hot 100 and topped US Album Rock Tracks chart and the Canadian RPM Singles Chart. It also became their biggest hit to date in Germany reaching the Top 15 there, higher than the other singles from the album, but was less successful in Australia, peaking at No. 24 and the UK, where it did not chart. The second single, "Juke Box Hero" was very successful on rock stations in North America, reaching No. 3 on the US Rock Tracks chart, but only reached No. 26 on the US Hot 100 and No. 39 in Canada, while reaching the Top 30 in Germany and France, their first song to chart in the later. The third single released, the power ballad, “Waiting for a Girl Like You”, went to No. 2 on the US Hot 100 for a record 10 consecutive weeks and, like "Urgent", topped the US Rock Tracks chart. It also went to No. 2 in Canada and also became their first single to reach the Top 10 in the UK (No. 8) and Australia (No. 3) while reaching the Top 20 in the Netherlands and Belgium and the Top 30 in Germany and France. For their 1981–82 tour in support of 4, the group added Peter Reilich (keyboards, synthesizers, who had played with Gary Wright), former Peter Frampton band member Bob Mayo (keyboards, synthesizers, guitar, backing vocals) and Mark Rivera (sax, flute, keyboards, synthesizers, guitar, backing vocals). Mayo and Rivera had also appeared on the sessions for 4. Reilich was dropped in May 1982 but Mayo and Rivera continued with the band through 1988. Foreigner's next album, Agent Provocateur, co-produced by Alex Sadkin, was released in December 1984 and in 1985 gave them their first and only No. 1 hit song in the US and several other countries (except for Canada were "Urgent" had done the trick) when "I Want to Know What Love Is", a ballad backed by Jennifer Holliday and the New Jersey Mass Choir, topped the charts in the US (both Hot 100 and Rock Tracks), UK, Canada, Australia, New Zealand, Norway, Sweden, etc. while hitting No. 3 in Germany (their only Top 10 hit there), No. 4 in France (their only Top 20 hit there) and No. 6 in both the Netherlands and Belgium. "That Was Yesterday" was the next single from the album in early 1985 and proved to be another sizable hit reaching No. 12 on the US Hot 100 (No. 4 on Rock Tracks) and the Top 30 in several other countries. The album was equally successful becoming Foreigner's only No. 1 album in the UK, Germany and Norway while reaching No. 3 in Australia (its biggest album there) and Canada, and No. 4 in the US and New Zealand (its biggest album there). It was certified 3x platinum in the US, their lowest selling album to date in that country. During their 1985 summer/fall tour, Foreigner appeared at the first Farm Aid on September 22 in Champaign, Illinois. In between his Foreigner commitments, Jones also started a side career as a producer for such albums as Van Halen's 5150 (1986), Bad Company's Fame and Fortune (1986) and Billy Joel's Storm Front (1989). In December 1987 Foreigner released Inside Information, spawning hits such as "Say You Will" and "I Don't Want to Live Without You". On May 14, 1988, the band headlined Atlantic Records 40th Anniversary concert at Madison Square Garden, culminating with "I Want to Know What Love Is", in which the likes of Phil Collins, Crosby, Stills and Nash, Roberta Flack and other Atlantic artists joined in, singing in the choir. Later during the summer, the band went back on the road but the touring for Inside Information was limited to Europe, Japan and Australia. For this tour, Rivera and Mayo were not available, so Larry Oakes (guitar, keyboards, synthesizers, backing vocals) and Lou Cortelezzi (sax) augmented the quartet of Gramm, Jones, Elliott and Wills. Lead vocalist Gramm's departure, May 1990 In the late 1980s, Jones and Gramm each put out solo efforts on Atlantic. Gramm released Ready or Not in January 1987 and shortly after its release, rehearsals for Foreigner's next album had started but ground to a halt as Gramm's status with the group was uncertain. But after the promotion and concert dates for Gramm's album were finished, cooler heads prevailed and Lou rejoined Foreigner in the studio for Inside Information, which was out at the end of 1987. Jones had Mick Jones in August 1989, then Gramm followed with his second solo release, Long Hard Look (October 1989), and decided to leave the group in May 1990 while preparing to tour behind Long Hard Look as the opener for Steve Miller Band. After finishing this tour, Gramm went on to form the short-lived band Shadow King, which put out one eponymous album on Atlantic in October 1991. Meanwhile, Jones brought in a new lead singer, Johnny Edwards (formerly of the bands Buster Brown, Montrose, King Kobra, Northrup and Wild Horses). Edwards made his first live appearance with Foreigner at the Long Island club Stephen Talkhouse on August 15, 1990, where he, Jones, Dennis Elliott and Rick Wills appeared, joined by special guests Terry Thomas (on guitar, who produced their next album) and Eddie Mack on harmonica. The new edition of Foreigner released the album Unusual Heat in June 1991. This was at the time their worst-selling album and only climbed as high as No. 117 on the Billboard 200, although "Lowdown and Dirty" was a minor mainstream rock hit, reaching No. 4 on that chart. In July 1991 the new lineup of Foreigner played some European dates then made its official U.S. debut on August 9 performing on the second night of a Billy Joel benefit concert at Deep Hollow Ranch in Montauk, New York, to raise funds for the preservation of Montauk Point Lighthouse. For their 1991 tour, Jeff Jacobs, who had played in Joel's band, was brought in as the new keyboardist and Mark Rivera returned. But during the fall leg of this tour, Elliott decided to leave the group after a concert at The Ritz in NYC on November 14, 1991, and embark on a career as a wood sculptor. Larry Aberman was then recruited as a temporary replacement until Mark Schulman arrived in 1992 as drummer for the next three years. Scott Gilman (guitar, sax, flute) joined the touring band in 1992 and Thom Gimbel took over from Gilman and Rivera in late 1992 after they departed. When Gimbel went to Aerosmith in 1993, Gilman returned to handle the guitar/sax/flute duties until Gimbel came back permanently in the spring of 1995. Gramm returns, 1992 During the Los Angeles riots, inside the confines of the Sunset Marquis Hotel in West Hollywood, where Mick Jones had gone to meet with Lou Gramm, they both ended up sequestered by a city curfew. They decided to use their time together resurrecting their partnership. "I flew to Los Angeles, during the riots," says Gramm. "We got flown to John Wayne Airport instead of LAX because they were shooting at the planes. Mick and I were holed up in the Sunset Marquis in L.A., with armed security guards walking around on the roof. It was a little weird, to say the least." Gramm ended up rejoining Foreigner, bringing along his Shadow King bandmate bassist Bruce Turgon to replace bassist Wills (who'd left after the band's 1991 tour after a falling out with Jones) and co-produced the band's second greatest hits album, The Very Best ... and Beyond (September 1992), which included three new songs. 1994–2003 In October 1994 Foreigner released what was supposed to be a comeback album, Mr. Moonlight, in Japan. Featuring new drummer Mark Schulman and augmented by a fifth member, keyboardist Jeff Jacobs, this album was not released in the U.S. until February 1995 and fared even worse than Unusual Heat. It only peaked at No. 136 on the Billboard 200, although the ballad "Until the End of Time" was a minor hit, reaching No. 42 on the Billboard Hot 100. In January 1995 Ron Wikso (who had played in The Storm with former Journey members Gregg Rolie and Ross Valory) took over percussion duties from Schulman, and Brian Tichy succeeded Wikso in 1998 before Schulman would return in 2000. In 1997 Gramm underwent surgery to remove a brain tumor. The medications he was prescribed caused considerable weight gain and weakened his singing voice. By 1998, the band was back on the road, but Gramm was visibly struggling and it would take him several years to get back to the point where he felt comfortable on stage. In the summer of 1999, Foreigner went on tour as the opening act for Journey and the following summer, Jeff Jacobs had to leave the road for a short time during the band's 2000 summer tour while his wife was giving birth to their child. Keyboardist John Purdell (who had been co-producer of the new tracks on their 1992 album The Very Best of ... and Beyond) stepped in to sub for Jacobs until he was able to return. Vocalist Scott Garrett of the tribute band "Cold as ice" stepped in for Gramm on lead vocals. In 2001 the Warner Music Group selected Foreigner and 4 to be among the first group of albums from their catalog to be remastered, enhanced and released in the new DVD Audio format. In 2002 the 25th Anniversary Year brought affirmation of the enduring respect for Foreigner recordings with Rhino Entertainment reissuing the 1977 to 1981 multi-platinum albums in special enhanced formats. Foreigner, Double Vision, Head Games and 4 received the attention of Rhino's staff with new photos, liner notes and bonus tracks of previously unreleased material. New greatest hits albums were also produced in the U.S. and in Europe. The U.S. version reached No. 80 on the Billboard 200 Album chart. For the group's 25th Anniversary Tour in 2002, they were joined by former Heart and Montrose beat keeper Denny Carmassi. In late October/early November, then December, of 2002, Foreigner played in Belgium and Germany at the annual Night of the Proms festival. It was the last time that Lou Gramm and Mick Jones would play together until June 2013. Gramm would leave the group in early 2003. Jones stated that he and Gramm split because they weren't communicating: "I think we really tried hard to save it, but it got to the point when we both realized that to go on would be detrimental for both of us." New lead vocalist Kelly Hansen, March 2005 Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004, in Santa Barbara, California, at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy dubbed "Mick Jones & Friends" that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only. Inspired by the event and further encouraged by Jason Bonham, Jones continued the search for a new frontman. He would eventually find former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West appeared briefly with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Can't Slow Down, Jones' health issues, and Acoustique (2007–2012) Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007—the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. Foreigner released a new album on September 29, 2009, titled Can't Slow Down. It was one of several recent classic rock releases (AC/DC, the Eagles, Journey and Kiss being four others) to be released exclusively through the Walmart stores chain in the US, while in Europe the album was released by earMUSIC (a label part of the Edel group), charting top 20 in Germany (16) and Top 30 in Switzerland. Can't Slow Down debuted at No. 29 on the Billboard 200. The first two singles from the album, "When It Comes to Love" and "In Pieces" both reached the Top 20 on Billboard's Adult Contemporary chart. In 2010 it was awarded a gold certification from the Independent Music Companies Association, which indicated sales of at least 100,000 copies throughout Europe. In early 2010, Foreigner teamed up with Styx and Kansas for the United in Rock Tour. On May 4, 2010, it was announced that Brian Tichy's replacement as drummer would be Jason Sutter. Jason Sutter's time with the band was short as he left by 2011. Mark Schulman then returned to Foreigner for his third go-round as drummer. On February 20, 2011, the band played for the first time in Bangalore, India along with sitar player Niladri Kumar. In June 2011 Foreigner (again along with Styx) co-headlined with Journey on their UK tour. After this, they joined up with Journey and Night Ranger on a triple bill summer/fall tour of the US. For some dates of this tour, Brian Tichy filled in for Foreigner's drummer Mark Schulman when he was not available. From August 19 to September 10, 2011, Night Ranger guitarist Joel Hoekstra did double duty playing for NR as well as subbing for Jones, who had taken ill. Right after this, guitarist Bruce Watson (ex-Rod Stewart) was brought in as Jones' stand-in for the tour's remaining dates and continued to tour with the group when they hit the road again in February 2012 after Jones underwent aortoiliac bypass surgery in Miami. On October 4, 2011, Foreigner released Acoustique, which presented their best and most famous songs, along with some newer tracks, recorded in stripped-down acoustic mode. In May 2012 after being diagnosed with colorectal cancer, Bluestein was forced to take a leave of absence from the band. His stand in on keyboards was Ollie Marland. Bluestein was able to return to the group in August 2012 and Tichy once again rejoined in the interim until his schedule with Whitesnake called him away. In September 2012, the man Tichy replaced in Whitesnake, Chris Frazier, became Foreigner's new percussionist. On August 31, 2012, after over a year away, Jones returned to the concert stage at Atlanta's Chastain Park. Guitarist Watson, in the meantime, stayed on until Jones was able to return to full health. At this very same show, keyboardist Derek Hilland (ex-Iron Butterfly, Whitesnake and Rick Springfield) came on board to sub for Bluestein for the group's late summer/fall tour dates and again during the winter/spring of 2013 until Bluestein was able to return. 2013–present On January 9, 2013, the band's original drummer, Dennis Elliott, joined Foreigner on stage at the Hard Rock Cafe in Hollywood, Florida, to play on "Hot Blooded". In addition to touring small clubs and venues, the band frequently is engaged for private parties and conventions, including playing at SeaWorld in Orlando for an IBM Rational Conference (June 6, 2012), at the Gaylord convention center in Washington, D.C., for the Teradata Partners 2012 conference (October 25, 2012) and at SAP's Field Kickoff Meeting in Las Vegas (January 23, 2013). On June 13, 2013, at the 44th Annual Songwriters Hall of Fame Award Ceremony, Jones and Gramm were officially inducted to the Songwriters Hall of Fame. Billy Joel was on hand to induct Jones and Gramm, singing snippets of Foreigner's hits in his introduction speech. Jones said he was proud as the honor makes his work "legit". The duo then took stage one more time and, along with Thom Gimbel and the house band, performed "Juke Box Hero" and "I Want to Know What Love Is" with Anthony Morgan's Inspirational Choir of Harlem—a performance that brought the entire audience to its feet. In 2014 Foreigner teamed up with Styx and former Eagles guitarist Don Felder for the Soundtrack of Summer Tour. Original bassist Ed Gagliardi died on May 11, 2014, aged 62, after an eight-year battle with cancer. Although discussions of an original member reunion had been proposed, the original band had not performed together since 1979. On June 18, 2014, Foreigner teamed up with the Brockton High School concert choir at the Leader Bank Pavilion in Boston, MA. They performed one of their greatest hits: I Want To Know What Love Is. On January 12, 2015, in Sarasota, Florida, Foreigner were joined on stage by original drummer Dennis Elliott and former bassist Rick Wills to play "Hot Blooded". In Hartford, Connecticut, on June 24, 2015, Foreigner began a summer tour as the opening act for Kid Rock. Foreigner appeared on the "Today Show" on February 11, 2016, along with the choir from Our Lady of Mercy Academy to promote their Acoustic Tour and the release of their new album, In Concert: Unplugged. On Saturday September 24, 2016, Foreigner performed before an estimated 20,000+ people at the 100th anniversary of the Durham Fair in Durham, Connecticut. The encore song "I Want to Know What Love Is" utilized the local Coginchaug High School concert choir for backup—their performance having been rehearsed with the band via Skype during the previous months. In a 2016 interview, Jones talked about a possible 40th-anniversary reunion tour, featuring the Head Games-era lineup: "It's quite possible. We've actually been talking about it. I'm not at a point where I can say it's definitely gonna happen, but we're all working on trying to make it happen. It's kind of exciting. And hopefully it'll be feasible and possible to pull it off next year (2017). Lou (Gramm) and I have communicated and we've kept up a sort of loose communication as I have actually also with Ian McDonald, Al Greenwood, Dennis Elliott and Rick Wills. We're at the early stages, but we're trying to put something together to commemorate (it's scary when I say it) 40 years." On November 25, 2016, in celebration of their 40th anniversary, Foreigner released a limited-edition 10-inch vinyl EP, The Flame Still Burns, on Rhino Records for Record Store Day's Black Friday event. The EP's track listing contained the title song (which had previously appeared on Foreigner's Acoustique album and had earlier been featured in the 1998 film Still Crazy) plus live unplugged versions of "Feels Like The First Time", "Long, Long Way From Home" and "Juke Box Hero". On July 20, 2017, at Jones Beach Theater in New York, the current Foreigner lineup were joined for their encore by Lou Gramm, Ian McDonald and Al Greenwood to help celebrate the band's 40th anniversary and Greenwood and McDonald came back the following year to take the stage with the group for their Jones Beach show on June 22, 2018. Dennis Elliott likewise joined his old mates for two songs at Foreigner's show on August 2, 2017, at MidFlorida Credit Union Amphitheatre in Tampa, Florida. Another reunion was announced for a pair of shows to take place on October 6–7, 2017, at the Soaring Eagle Casino & Resort in Mount Pleasant, Michigan, where the group was set to be joined again by Lou Gramm, Dennis Elliott, Al Greenwood, Ian McDonald and Rick Wills. The concerts were filmed for future release, appearing on PBS stations in the U.S. on June 8, 2018. In a July 2018 interview with OC Weekly, bassist Jeff Pilson said that Foreigner has no plans to release a new studio album, but will continue to release singles periodically. On November 9, 2018, all surviving original members of Foreigner came on stage to play alongside the current line-up for a show at Microsoft Theater in Los Angeles, beginning a series of "Foreigner Then and Now" concerts set to run through the end of the year. In October 2019, the group was slated once again to be joined by the surviving original players for a handful of shows as the Double Vision: Then And Now tour. However, on October 2, it was announced that Lou Gramm would not be taking part in these dates due to illness. Foreigner announced a 2020 summer tour with support from Kansas and Europe called "Juke Box Heroes" in reference to the song of the same name. On May 19, 2020, Foreigner announced the band's Juke Box Heroes 2020 Tour was canceled, due to the COVID-19 pandemic. On March 18, 2021, Pilson announced that Thom Gimbel would be departing from the band. Pilson would later confirm on March 20, 2021, that Foreigner are working on new music: "[But] we are working on some music. So I think that what's gonna happen is whatever other things we release in the next couple of years, there will be some new songs added to it. So that's what I see kind of happening. 'Cause we're working on a few that are not that far away. So I would say expect a package deal to have a couple of new songs on it." Jones has been absent from the band's 2021 tour, leaving no members from the original or classic line up. Thus, none of the band's current line up played on the original versions of any songs. It was falsely reported Jones joined the band at their show in New Brunswick, NJ on October 29, 2021 for Hot Blooded; rather, it was former bassist Wills. Band members Current Mick Jones – lead and rhythm guitars, keyboards, backing and lead vocals Jeff Pilson – bass, keyboards, backing vocals Kelly Hansen – lead vocals, percussion Michael Bluestein – keyboards, backing vocals Bruce Watson – rhythm and lead guitars, backing vocals Chris Frazier – drums, percussion Luis Maldonado – rhythm guitar, bass, backing vocals Former Lou Gramm – lead vocals, percussion Dennis Elliott – drums, percussion, occasional backing vocals Ian McDonald – rhythm and lead guitars, keyboards, saxophone, flute, backing vocals Al Greenwood – keyboards, synthesizers Ed Gagliardi – bass, backing vocals Rick Wills – bass, backing vocals Johnny Edwards – lead vocals, rhythm and lead guitars Jeff Jacobs – keyboards, backing vocals Thom Gimbel – rhythm guitar, keyboards, backing vocals, saxophone, flute Mark Schulman – drums, backing vocals Bruce Turgon – bass, backing vocals Scott Garrett – lead vocals Ron Wikso – drums Brian Tichy – drums Denny Carmassi – drums Jason Bonham – drums Chas West – lead vocals Paul Mirkovich – keyboards Jason Sutter – drums Discography Studio albums Foreigner (1977) Double Vision (1978) Head Games (1979) 4 (1981) Agent Provocateur (1984) Inside Information (1987) Unusual Heat (1991) Mr. Moonlight (1994) Can't Slow Down (2009) See also List of best-selling music artists List of number-one hits (United States) List of number-one albums (United States) List of best-selling albums in the United States List of artists who reached number one in the United States List of artists who reached number one on the U.S. Mainstream Rock chart References External links Lou Gramm's official website 1976 establishments in New York (state) American pop rock music groups Atlantic Records artists British hard rock musical groups British pop rock music groups Hard rock musical groups from New York (state) Musical groups established in 1976 Musical groups from London Musical groups from New York City

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What did he do before joining Foreigner?

What did Kelly Hansen do before joining Foreigner?

Foreigner (band)

Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004 in Santa Barbara, California at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy with a brand new version of Foreigner that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only and was eventually replaced by former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West briefly continued with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007 - the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. CANNOTANSWER

son of Led Zeppelin drummer John Bonham and leader of Bonham

Foreigner is a British-American rock band, originally formed in New York City in 1976 by veteran British guitarist and songwriter Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald, along with American vocalist Lou Gramm. Jones came up with the band's name as he, McDonald and Dennis Elliott were British, whereas Gramm, Al Greenwood and Ed Gagliardi were American. In 1977 Foreigner released its self-titled debut album, the first of four straight albums to be certified at least 5x platinum in the US. Foreigner peaked at No. 4 on the US album chart and in the Top 10 in Canada and Australia, while yielding two Top 10 hits in North America, "Feels Like the First Time" and "Cold as Ice". Their 1978 follow-up, Double Vision, was even more successful peaking at No. 3 in North America with two hit singles, “Hot Blooded” a No. 3 hit in both countries, and the title track, a US No. 2 and a Canadian No. 7. Foreigner's third album, Head Games (1979), went to No. 5 in North America producing two Top 20 singles, including its title track. Reduced to a quartet, their album 4 (1981) hit No. 1 (for 10 weeks) in the US and No. 2 in Canada, while becoming Foreigner's break-through album outside of North America, going Top 5 in the UK, Germany and Australia. Three of 4’s singles were hits: "Urgent" reached No. 1 in Canada and on the new US Rock Tracks chart, rose to No. 4 on the US Hot 100 and became their first Top 15 hit in Germany; the ballad “Waiting for a Girl Like You” peaked at No. 2 in both the US (for a record 10 weeks) and Canada, topped the US Rock Tracks chart and became their first Top 10 hit in the UK and Australia; and "Juke Box Hero" reached No. 3 on the Rock Tracks chart and the Top 30 on the Hot 100. In 1982 Foreigner released its first greatest hits album, Records, which has gone on to sell 7 million copies in the US. In 1984 Foreigner had its biggest hit single, the anthemic ballad "I Want to Know What Love Is", which topped the US, UK, Canadian and Australian charts, while hitting No. 3 in Germany and the Top 10 in numerous other countries. Its source album, Agent Provocateur, was the band's most successful in the UK, Germany and some other countries in Europe, where it peaked at No. 1, and in Australia where it peaked at No. 3, while making the Top 5 in the US and Canada. After a break, Foreigner released Inside Information (1987), which despite the No. 6 US and Australian hit, “Say You Will” (which also rose to No. 1 on the US Rock Tracks chart) and the No. 5 US hit, “I Don’t Want to Live Without You” (which also reached No. 1 on the US Adult Comtemporary chart), had a large sales drop-off, only hitting the Top 10 in a few European countries with a No. 15 peak in the US. The band's most recent albums, Unusual Heat (1991), without Gramm, who departed due to the band's shift towards the use of synthesizers, Mr. Moonlight (1994), with Gramm back on vocals, and Can't Slow Down (2009), once again without Gramm, were not major sellers; the highest chart positions were obtained in Germany, where the last album peaked at No. 16. Foreigner is one of the world's best-selling bands of all time with worldwide sales of more than 80 million records, including 37.5 million in the US. Leader Mick Jones has been for many years the only founding member still involved. Band history Formation, 1976 Since its beginning, Foreigner has been led by English musician Mick Jones (former member of Nero and the Gladiators, Johnny Hallyday's band, Spooky Tooth and The Leslie West Band). After the collapse of the Leslie West Band in 1976, Jones found himself stranded in New York City; West's manager, Bud Prager, encouraged Jones to continue his songwriting and rehearse a band of his own in some space Prager had near his New York office. Jones got together with New York keyboardist Al Greenwood (who had just played with former Flash members Colin Carter and Mike Hough in a group called Storm), drummer Stan Williams and Louisiana bassist Jay Davis (later with Rod Stewart) and began jamming. Another friend, Stories singer Ian Lloyd, was brought in to sing but Jones decided the chemistry was not quite right and retained only Greenwood as he renewed his search for players. During a session for Ian Lloyd's album, Jones met up with transplanted Englishman and ex-King Crimson member Ian McDonald and another session for Ian Hunter unearthed another fellow Brit in drummer Dennis Elliott. But after auditioning about forty or fifty singers, the right vocalist was becoming harder to come by until Jones dragged out an old Black Sheep album given to him backstage at a Spooky Tooth concert a few years prior by that group's lead singer, Lou Gramm. Jones put in a call to Gramm, who was back in his hometown of Rochester, New York, after Black Sheep's break-up, and sent him a plane ticket to New York City. Gramm proved to be the missing piece of the puzzle and Brooklyn bassist Ed Gagliardi completed the new sextet. A name, "Trigger", was tentatively agreed to and was the name that appeared on their demo tape, but it was passed on by all the record companies it was delivered to. John Kalodner, a former journalist and radio programmer who was working in A&R at Atlantic Records, happened to spot a tape on Atlantic president Jerry L. Greenberg's desk with the Trigger identification on it. Kalodner had just been to hear an outfit called Trigger and realized that this was not the same band. He convinced Greenberg that at least one of the songs on the tape could be a big hit and to look into signing this group immediately. Because the Trigger name was already taken, Jones came up with the Foreigner moniker from the fact that no matter what country they were in, three would be foreigners, because he, McDonald and Elliott were English, while Gramm, Greenwood and Gagliardi were American. Debut album, March 1977 In November 1976, after six months of rehearsals, the newly named Foreigner started recording their debut album with producers John Sinclair and Gary Lyons at The Hit Factory but switched to Atlantic Recording Studios where they finished recording the basic tracks and completed the overdubs. The first attempt at mixing the album was done at Sarm Studios, London. But, because of the band's dissatisfaction with the results, the album was re-mixed back at Atlantic by Mick Jones, Ian McDonald and Jimmy Douglass. Bud Prager signed on as the group's manager, a role he would continue in for the next 17 years. The band's debut, Foreigner, was released in March 1977 and was certified for sales of five million copies in the United States, staying in the Top 20 for a year with a peak at No. 4. It also made the Top 10 in both Canada and Australia and went to No. 1 in Norway. Foreigner had three significant hits in North America with "Feels Like the First Time" hitting No. 4 in the US and No. 7 in Canada, "Cold as Ice" reaching No. 6 and No. 9 in the countries and "Long, Long Way from Home" peaking at around No. 20. "Cold as Ice" was also modestly successful in the UK, Australia, the Netherlands and Belgium where it reached the Top 20 or 30. 1977–1990 By May 1977, Foreigner was already headlining theaters and had already scored a gold record for the first album. Not long afterwards, they were selling out U.S. basketball arenas and hockey rinks. After a show at Memorial Hall in Kansas City, Kansas, on May 6, 1977, drummer Elliott injured his hand, prompting the band to call in Ian Wallace (ex-King Crimson) to play alongside Elliott on some of the dates until the hand was healed. After almost a year on the road, the band played before over two hundred thousand people at California Jam II on March 18, 1978, and during the following month, the band toured Europe, Japan and Australia for the first time. Their second album, Double Vision (released in June 1978), co-produced by Keith Olsen, topped their previous, selling seven million records in the US, peaking at No. 3 in both the US and Canada, while dropping to No. 13 in Australia. It was the band's first album to chart in the UK where it peaked at No. 32, but Double Vision (and their next two albums) did not chart in Norway where their debut album had gone No. 1. The album spawned hits that were even more successful in North America than those from their debut album with "Hot Blooded" hitting No. 3 in both countries, the title track "Double Vision" reaching No. 2 in the US and No. 7 in Canada with "Blue Morning, Blue Day" reaching No. 15 and No. 21. Aside from "Hot Blooded" reaching No. 24 in Australia there was little airplay or sales in other countries for the singles from Double Vision or from their next album, Head Games. Album number three, Head Games (September 1979), co-produced by Roy Thomas Baker, which was referred to by Gramm as their "grainiest" album, was also successful, in this case because of the thunderous "Dirty White Boy" and another title track hit "Head Games". Both songs were Top 15 hits in the US and Canada but did not chart in any other counties. The album reached No. 5 in North America but its sales dropped off substantially in Australia (No. 45) without any gains in any other countries. For Head Games, bassist Ed Gagliardi was replaced by Englishman Rick Wills. In his autobiography, Juke Box Hero (named after the seminal Foreigner song), Gramm explains why the band parted ways with Gagliardi: "He was a little headstrong and had his own ideas that weren't always compatible with what we were trying to accomplish. Ed was obstinate at times, playing the song the way he wanted to play it rather than the way it was drawn up. Jones often had to stop sessions to get Ed back on track. After a while it became tiresome and slowed down the recording process." Gramm went on to say that he was disappointed overall with Head Games and thought it sounded unfinished. It ended up selling about two million fewer than its predecessor. In September 1980 co-founders Al Greenwood and Ian McDonald were sacked as Jones wished to have more control over the band and write most of the music (along with Gramm). In his book, Gramm goes on to talk about this difficult time: "The chemistry that made the band right in the beginning didn't necessarily mean it would always be right. I think a pretty major communication lapse appeared and I don't think anybody really knew what anybody was feeling—the deep, inner belief about the direction of the band and how we were progressing. We had reached a point where there was a lot of dissatisfaction". In the liner notes for the 2000 release, Juke Box Heroes: The Foreigner Anthology, Jones went on to elaborate further: "Ian McDonald, who I consider a great musician and multi-instrumentalist, began to focus more and more on guitar playing, while I believed his true talent lay more in the dimensional and creative imagery he gave the first two albums. Al Greenwood, our keyboard wiz and a very important part of the Foreigner sound at the beginning, had also started to focus more on songwriting. Although both their contributions to the band had been vital, a conflict was developing about the musical direction of the band. I just felt we needed to clarify it. So Lou, Rick, Dennis and I made the decision, and that's when we went down to four." And according to McDonald in a 1999 interview, "Mick and Lou decided they wanted to be the focus of the band. Mick wanted to make it more apparent that it was his group, so he decided to make a smaller group. That was his decision. I wouldn't have left—I loved the group, it was not my decision." McDonald noted that there was much creative compromise working in the band and that he did more than he received credit for, much as he did in King Crimson. McDonald stated that "he had a lot to do with the making of those records and the arrangements and the creating of those songs, more than is probably apparent. I did a lot that went uncredited, which I was happy to do though. When you're in a group you must contribute as much as you can. I was happy to do that. But as I said, it maybe didn't appear that I was doing as much as I in fact was. I had a lot to do with that group... as well as... Mick Jones, obviously, and everyone else—I'm not trying to take all the credit, but I'm just saying that I was there, I was involved, and I loved it." The band was now stripped down to a quartet, with session players brought in as needed to record or tour (see below for complete list of members). Greenwood soon joined Gagliardi to form the AOR band Spys, with John Blanco, Billy Milne and John DiGaudio. The band released two albums, an eponymous debut, and the follow-up Behind Enemy Lines. In the meantime, Foreigner began work on the next album at Electric Lady Studios in New York City with producer Robert John "Mutt" Lange, engineered by Dave Wittman (currently with Trans-Siberian Orchestra). 4 (released in July 1981) contained the hits "Urgent" (which includes the famous Junior Walker sax solo), "Waiting for a Girl Like You", "Juke Box Hero" and "Break it Up". Before releasing albums of his own, Thomas Dolby played synthesizers on 4 (he contributed the signature synth sound on "Urgent" and played the intro to "Waiting for a Girl Like You"). 4 became Foreigners first and only No 1. album in the US, spending 10 weeks in that position, and peaked at No. 2 in Canada. It also became the band's break-through album overseas, reaching the Top 5 in the UK, Germany and Australia. The first single, "Urgent" peaked at No. 4 on the US Hot 100 and topped US Album Rock Tracks chart and the Canadian RPM Singles Chart. It also became their biggest hit to date in Germany reaching the Top 15 there, higher than the other singles from the album, but was less successful in Australia, peaking at No. 24 and the UK, where it did not chart. The second single, "Juke Box Hero" was very successful on rock stations in North America, reaching No. 3 on the US Rock Tracks chart, but only reached No. 26 on the US Hot 100 and No. 39 in Canada, while reaching the Top 30 in Germany and France, their first song to chart in the later. The third single released, the power ballad, “Waiting for a Girl Like You”, went to No. 2 on the US Hot 100 for a record 10 consecutive weeks and, like "Urgent", topped the US Rock Tracks chart. It also went to No. 2 in Canada and also became their first single to reach the Top 10 in the UK (No. 8) and Australia (No. 3) while reaching the Top 20 in the Netherlands and Belgium and the Top 30 in Germany and France. For their 1981–82 tour in support of 4, the group added Peter Reilich (keyboards, synthesizers, who had played with Gary Wright), former Peter Frampton band member Bob Mayo (keyboards, synthesizers, guitar, backing vocals) and Mark Rivera (sax, flute, keyboards, synthesizers, guitar, backing vocals). Mayo and Rivera had also appeared on the sessions for 4. Reilich was dropped in May 1982 but Mayo and Rivera continued with the band through 1988. Foreigner's next album, Agent Provocateur, co-produced by Alex Sadkin, was released in December 1984 and in 1985 gave them their first and only No. 1 hit song in the US and several other countries (except for Canada were "Urgent" had done the trick) when "I Want to Know What Love Is", a ballad backed by Jennifer Holliday and the New Jersey Mass Choir, topped the charts in the US (both Hot 100 and Rock Tracks), UK, Canada, Australia, New Zealand, Norway, Sweden, etc. while hitting No. 3 in Germany (their only Top 10 hit there), No. 4 in France (their only Top 20 hit there) and No. 6 in both the Netherlands and Belgium. "That Was Yesterday" was the next single from the album in early 1985 and proved to be another sizable hit reaching No. 12 on the US Hot 100 (No. 4 on Rock Tracks) and the Top 30 in several other countries. The album was equally successful becoming Foreigner's only No. 1 album in the UK, Germany and Norway while reaching No. 3 in Australia (its biggest album there) and Canada, and No. 4 in the US and New Zealand (its biggest album there). It was certified 3x platinum in the US, their lowest selling album to date in that country. During their 1985 summer/fall tour, Foreigner appeared at the first Farm Aid on September 22 in Champaign, Illinois. In between his Foreigner commitments, Jones also started a side career as a producer for such albums as Van Halen's 5150 (1986), Bad Company's Fame and Fortune (1986) and Billy Joel's Storm Front (1989). In December 1987 Foreigner released Inside Information, spawning hits such as "Say You Will" and "I Don't Want to Live Without You". On May 14, 1988, the band headlined Atlantic Records 40th Anniversary concert at Madison Square Garden, culminating with "I Want to Know What Love Is", in which the likes of Phil Collins, Crosby, Stills and Nash, Roberta Flack and other Atlantic artists joined in, singing in the choir. Later during the summer, the band went back on the road but the touring for Inside Information was limited to Europe, Japan and Australia. For this tour, Rivera and Mayo were not available, so Larry Oakes (guitar, keyboards, synthesizers, backing vocals) and Lou Cortelezzi (sax) augmented the quartet of Gramm, Jones, Elliott and Wills. Lead vocalist Gramm's departure, May 1990 In the late 1980s, Jones and Gramm each put out solo efforts on Atlantic. Gramm released Ready or Not in January 1987 and shortly after its release, rehearsals for Foreigner's next album had started but ground to a halt as Gramm's status with the group was uncertain. But after the promotion and concert dates for Gramm's album were finished, cooler heads prevailed and Lou rejoined Foreigner in the studio for Inside Information, which was out at the end of 1987. Jones had Mick Jones in August 1989, then Gramm followed with his second solo release, Long Hard Look (October 1989), and decided to leave the group in May 1990 while preparing to tour behind Long Hard Look as the opener for Steve Miller Band. After finishing this tour, Gramm went on to form the short-lived band Shadow King, which put out one eponymous album on Atlantic in October 1991. Meanwhile, Jones brought in a new lead singer, Johnny Edwards (formerly of the bands Buster Brown, Montrose, King Kobra, Northrup and Wild Horses). Edwards made his first live appearance with Foreigner at the Long Island club Stephen Talkhouse on August 15, 1990, where he, Jones, Dennis Elliott and Rick Wills appeared, joined by special guests Terry Thomas (on guitar, who produced their next album) and Eddie Mack on harmonica. The new edition of Foreigner released the album Unusual Heat in June 1991. This was at the time their worst-selling album and only climbed as high as No. 117 on the Billboard 200, although "Lowdown and Dirty" was a minor mainstream rock hit, reaching No. 4 on that chart. In July 1991 the new lineup of Foreigner played some European dates then made its official U.S. debut on August 9 performing on the second night of a Billy Joel benefit concert at Deep Hollow Ranch in Montauk, New York, to raise funds for the preservation of Montauk Point Lighthouse. For their 1991 tour, Jeff Jacobs, who had played in Joel's band, was brought in as the new keyboardist and Mark Rivera returned. But during the fall leg of this tour, Elliott decided to leave the group after a concert at The Ritz in NYC on November 14, 1991, and embark on a career as a wood sculptor. Larry Aberman was then recruited as a temporary replacement until Mark Schulman arrived in 1992 as drummer for the next three years. Scott Gilman (guitar, sax, flute) joined the touring band in 1992 and Thom Gimbel took over from Gilman and Rivera in late 1992 after they departed. When Gimbel went to Aerosmith in 1993, Gilman returned to handle the guitar/sax/flute duties until Gimbel came back permanently in the spring of 1995. Gramm returns, 1992 During the Los Angeles riots, inside the confines of the Sunset Marquis Hotel in West Hollywood, where Mick Jones had gone to meet with Lou Gramm, they both ended up sequestered by a city curfew. They decided to use their time together resurrecting their partnership. "I flew to Los Angeles, during the riots," says Gramm. "We got flown to John Wayne Airport instead of LAX because they were shooting at the planes. Mick and I were holed up in the Sunset Marquis in L.A., with armed security guards walking around on the roof. It was a little weird, to say the least." Gramm ended up rejoining Foreigner, bringing along his Shadow King bandmate bassist Bruce Turgon to replace bassist Wills (who'd left after the band's 1991 tour after a falling out with Jones) and co-produced the band's second greatest hits album, The Very Best ... and Beyond (September 1992), which included three new songs. 1994–2003 In October 1994 Foreigner released what was supposed to be a comeback album, Mr. Moonlight, in Japan. Featuring new drummer Mark Schulman and augmented by a fifth member, keyboardist Jeff Jacobs, this album was not released in the U.S. until February 1995 and fared even worse than Unusual Heat. It only peaked at No. 136 on the Billboard 200, although the ballad "Until the End of Time" was a minor hit, reaching No. 42 on the Billboard Hot 100. In January 1995 Ron Wikso (who had played in The Storm with former Journey members Gregg Rolie and Ross Valory) took over percussion duties from Schulman, and Brian Tichy succeeded Wikso in 1998 before Schulman would return in 2000. In 1997 Gramm underwent surgery to remove a brain tumor. The medications he was prescribed caused considerable weight gain and weakened his singing voice. By 1998, the band was back on the road, but Gramm was visibly struggling and it would take him several years to get back to the point where he felt comfortable on stage. In the summer of 1999, Foreigner went on tour as the opening act for Journey and the following summer, Jeff Jacobs had to leave the road for a short time during the band's 2000 summer tour while his wife was giving birth to their child. Keyboardist John Purdell (who had been co-producer of the new tracks on their 1992 album The Very Best of ... and Beyond) stepped in to sub for Jacobs until he was able to return. Vocalist Scott Garrett of the tribute band "Cold as ice" stepped in for Gramm on lead vocals. In 2001 the Warner Music Group selected Foreigner and 4 to be among the first group of albums from their catalog to be remastered, enhanced and released in the new DVD Audio format. In 2002 the 25th Anniversary Year brought affirmation of the enduring respect for Foreigner recordings with Rhino Entertainment reissuing the 1977 to 1981 multi-platinum albums in special enhanced formats. Foreigner, Double Vision, Head Games and 4 received the attention of Rhino's staff with new photos, liner notes and bonus tracks of previously unreleased material. New greatest hits albums were also produced in the U.S. and in Europe. The U.S. version reached No. 80 on the Billboard 200 Album chart. For the group's 25th Anniversary Tour in 2002, they were joined by former Heart and Montrose beat keeper Denny Carmassi. In late October/early November, then December, of 2002, Foreigner played in Belgium and Germany at the annual Night of the Proms festival. It was the last time that Lou Gramm and Mick Jones would play together until June 2013. Gramm would leave the group in early 2003. Jones stated that he and Gramm split because they weren't communicating: "I think we really tried hard to save it, but it got to the point when we both realized that to go on would be detrimental for both of us." New lead vocalist Kelly Hansen, March 2005 Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004, in Santa Barbara, California, at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy dubbed "Mick Jones & Friends" that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only. Inspired by the event and further encouraged by Jason Bonham, Jones continued the search for a new frontman. He would eventually find former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West appeared briefly with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Can't Slow Down, Jones' health issues, and Acoustique (2007–2012) Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007—the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. Foreigner released a new album on September 29, 2009, titled Can't Slow Down. It was one of several recent classic rock releases (AC/DC, the Eagles, Journey and Kiss being four others) to be released exclusively through the Walmart stores chain in the US, while in Europe the album was released by earMUSIC (a label part of the Edel group), charting top 20 in Germany (16) and Top 30 in Switzerland. Can't Slow Down debuted at No. 29 on the Billboard 200. The first two singles from the album, "When It Comes to Love" and "In Pieces" both reached the Top 20 on Billboard's Adult Contemporary chart. In 2010 it was awarded a gold certification from the Independent Music Companies Association, which indicated sales of at least 100,000 copies throughout Europe. In early 2010, Foreigner teamed up with Styx and Kansas for the United in Rock Tour. On May 4, 2010, it was announced that Brian Tichy's replacement as drummer would be Jason Sutter. Jason Sutter's time with the band was short as he left by 2011. Mark Schulman then returned to Foreigner for his third go-round as drummer. On February 20, 2011, the band played for the first time in Bangalore, India along with sitar player Niladri Kumar. In June 2011 Foreigner (again along with Styx) co-headlined with Journey on their UK tour. After this, they joined up with Journey and Night Ranger on a triple bill summer/fall tour of the US. For some dates of this tour, Brian Tichy filled in for Foreigner's drummer Mark Schulman when he was not available. From August 19 to September 10, 2011, Night Ranger guitarist Joel Hoekstra did double duty playing for NR as well as subbing for Jones, who had taken ill. Right after this, guitarist Bruce Watson (ex-Rod Stewart) was brought in as Jones' stand-in for the tour's remaining dates and continued to tour with the group when they hit the road again in February 2012 after Jones underwent aortoiliac bypass surgery in Miami. On October 4, 2011, Foreigner released Acoustique, which presented their best and most famous songs, along with some newer tracks, recorded in stripped-down acoustic mode. In May 2012 after being diagnosed with colorectal cancer, Bluestein was forced to take a leave of absence from the band. His stand in on keyboards was Ollie Marland. Bluestein was able to return to the group in August 2012 and Tichy once again rejoined in the interim until his schedule with Whitesnake called him away. In September 2012, the man Tichy replaced in Whitesnake, Chris Frazier, became Foreigner's new percussionist. On August 31, 2012, after over a year away, Jones returned to the concert stage at Atlanta's Chastain Park. Guitarist Watson, in the meantime, stayed on until Jones was able to return to full health. At this very same show, keyboardist Derek Hilland (ex-Iron Butterfly, Whitesnake and Rick Springfield) came on board to sub for Bluestein for the group's late summer/fall tour dates and again during the winter/spring of 2013 until Bluestein was able to return. 2013–present On January 9, 2013, the band's original drummer, Dennis Elliott, joined Foreigner on stage at the Hard Rock Cafe in Hollywood, Florida, to play on "Hot Blooded". In addition to touring small clubs and venues, the band frequently is engaged for private parties and conventions, including playing at SeaWorld in Orlando for an IBM Rational Conference (June 6, 2012), at the Gaylord convention center in Washington, D.C., for the Teradata Partners 2012 conference (October 25, 2012) and at SAP's Field Kickoff Meeting in Las Vegas (January 23, 2013). On June 13, 2013, at the 44th Annual Songwriters Hall of Fame Award Ceremony, Jones and Gramm were officially inducted to the Songwriters Hall of Fame. Billy Joel was on hand to induct Jones and Gramm, singing snippets of Foreigner's hits in his introduction speech. Jones said he was proud as the honor makes his work "legit". The duo then took stage one more time and, along with Thom Gimbel and the house band, performed "Juke Box Hero" and "I Want to Know What Love Is" with Anthony Morgan's Inspirational Choir of Harlem—a performance that brought the entire audience to its feet. In 2014 Foreigner teamed up with Styx and former Eagles guitarist Don Felder for the Soundtrack of Summer Tour. Original bassist Ed Gagliardi died on May 11, 2014, aged 62, after an eight-year battle with cancer. Although discussions of an original member reunion had been proposed, the original band had not performed together since 1979. On June 18, 2014, Foreigner teamed up with the Brockton High School concert choir at the Leader Bank Pavilion in Boston, MA. They performed one of their greatest hits: I Want To Know What Love Is. On January 12, 2015, in Sarasota, Florida, Foreigner were joined on stage by original drummer Dennis Elliott and former bassist Rick Wills to play "Hot Blooded". In Hartford, Connecticut, on June 24, 2015, Foreigner began a summer tour as the opening act for Kid Rock. Foreigner appeared on the "Today Show" on February 11, 2016, along with the choir from Our Lady of Mercy Academy to promote their Acoustic Tour and the release of their new album, In Concert: Unplugged. On Saturday September 24, 2016, Foreigner performed before an estimated 20,000+ people at the 100th anniversary of the Durham Fair in Durham, Connecticut. The encore song "I Want to Know What Love Is" utilized the local Coginchaug High School concert choir for backup—their performance having been rehearsed with the band via Skype during the previous months. In a 2016 interview, Jones talked about a possible 40th-anniversary reunion tour, featuring the Head Games-era lineup: "It's quite possible. We've actually been talking about it. I'm not at a point where I can say it's definitely gonna happen, but we're all working on trying to make it happen. It's kind of exciting. And hopefully it'll be feasible and possible to pull it off next year (2017). Lou (Gramm) and I have communicated and we've kept up a sort of loose communication as I have actually also with Ian McDonald, Al Greenwood, Dennis Elliott and Rick Wills. We're at the early stages, but we're trying to put something together to commemorate (it's scary when I say it) 40 years." On November 25, 2016, in celebration of their 40th anniversary, Foreigner released a limited-edition 10-inch vinyl EP, The Flame Still Burns, on Rhino Records for Record Store Day's Black Friday event. The EP's track listing contained the title song (which had previously appeared on Foreigner's Acoustique album and had earlier been featured in the 1998 film Still Crazy) plus live unplugged versions of "Feels Like The First Time", "Long, Long Way From Home" and "Juke Box Hero". On July 20, 2017, at Jones Beach Theater in New York, the current Foreigner lineup were joined for their encore by Lou Gramm, Ian McDonald and Al Greenwood to help celebrate the band's 40th anniversary and Greenwood and McDonald came back the following year to take the stage with the group for their Jones Beach show on June 22, 2018. Dennis Elliott likewise joined his old mates for two songs at Foreigner's show on August 2, 2017, at MidFlorida Credit Union Amphitheatre in Tampa, Florida. Another reunion was announced for a pair of shows to take place on October 6–7, 2017, at the Soaring Eagle Casino & Resort in Mount Pleasant, Michigan, where the group was set to be joined again by Lou Gramm, Dennis Elliott, Al Greenwood, Ian McDonald and Rick Wills. The concerts were filmed for future release, appearing on PBS stations in the U.S. on June 8, 2018. In a July 2018 interview with OC Weekly, bassist Jeff Pilson said that Foreigner has no plans to release a new studio album, but will continue to release singles periodically. On November 9, 2018, all surviving original members of Foreigner came on stage to play alongside the current line-up for a show at Microsoft Theater in Los Angeles, beginning a series of "Foreigner Then and Now" concerts set to run through the end of the year. In October 2019, the group was slated once again to be joined by the surviving original players for a handful of shows as the Double Vision: Then And Now tour. However, on October 2, it was announced that Lou Gramm would not be taking part in these dates due to illness. Foreigner announced a 2020 summer tour with support from Kansas and Europe called "Juke Box Heroes" in reference to the song of the same name. On May 19, 2020, Foreigner announced the band's Juke Box Heroes 2020 Tour was canceled, due to the COVID-19 pandemic. On March 18, 2021, Pilson announced that Thom Gimbel would be departing from the band. Pilson would later confirm on March 20, 2021, that Foreigner are working on new music: "[But] we are working on some music. So I think that what's gonna happen is whatever other things we release in the next couple of years, there will be some new songs added to it. So that's what I see kind of happening. 'Cause we're working on a few that are not that far away. So I would say expect a package deal to have a couple of new songs on it." Jones has been absent from the band's 2021 tour, leaving no members from the original or classic line up. Thus, none of the band's current line up played on the original versions of any songs. It was falsely reported Jones joined the band at their show in New Brunswick, NJ on October 29, 2021 for Hot Blooded; rather, it was former bassist Wills. Band members Current Mick Jones – lead and rhythm guitars, keyboards, backing and lead vocals Jeff Pilson – bass, keyboards, backing vocals Kelly Hansen – lead vocals, percussion Michael Bluestein – keyboards, backing vocals Bruce Watson – rhythm and lead guitars, backing vocals Chris Frazier – drums, percussion Luis Maldonado – rhythm guitar, bass, backing vocals Former Lou Gramm – lead vocals, percussion Dennis Elliott – drums, percussion, occasional backing vocals Ian McDonald – rhythm and lead guitars, keyboards, saxophone, flute, backing vocals Al Greenwood – keyboards, synthesizers Ed Gagliardi – bass, backing vocals Rick Wills – bass, backing vocals Johnny Edwards – lead vocals, rhythm and lead guitars Jeff Jacobs – keyboards, backing vocals Thom Gimbel – rhythm guitar, keyboards, backing vocals, saxophone, flute Mark Schulman – drums, backing vocals Bruce Turgon – bass, backing vocals Scott Garrett – lead vocals Ron Wikso – drums Brian Tichy – drums Denny Carmassi – drums Jason Bonham – drums Chas West – lead vocals Paul Mirkovich – keyboards Jason Sutter – drums Discography Studio albums Foreigner (1977) Double Vision (1978) Head Games (1979) 4 (1981) Agent Provocateur (1984) Inside Information (1987) Unusual Heat (1991) Mr. Moonlight (1994) Can't Slow Down (2009) See also List of best-selling music artists List of number-one hits (United States) List of number-one albums (United States) List of best-selling albums in the United States List of artists who reached number one in the United States List of artists who reached number one on the U.S. Mainstream Rock chart References External links Lou Gramm's official website 1976 establishments in New York (state) American pop rock music groups Atlantic Records artists British hard rock musical groups British pop rock music groups Hard rock musical groups from New York (state) Musical groups established in 1976 Musical groups from London Musical groups from New York City

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How did fans receive him?

How did fans receive Kelly Hansen?

Foreigner (band)

Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004 in Santa Barbara, California at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy with a brand new version of Foreigner that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only and was eventually replaced by former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West briefly continued with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007 - the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. CANNOTANSWER

CANNOTANSWER

Foreigner is a British-American rock band, originally formed in New York City in 1976 by veteran British guitarist and songwriter Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald, along with American vocalist Lou Gramm. Jones came up with the band's name as he, McDonald and Dennis Elliott were British, whereas Gramm, Al Greenwood and Ed Gagliardi were American. In 1977 Foreigner released its self-titled debut album, the first of four straight albums to be certified at least 5x platinum in the US. Foreigner peaked at No. 4 on the US album chart and in the Top 10 in Canada and Australia, while yielding two Top 10 hits in North America, "Feels Like the First Time" and "Cold as Ice". Their 1978 follow-up, Double Vision, was even more successful peaking at No. 3 in North America with two hit singles, “Hot Blooded” a No. 3 hit in both countries, and the title track, a US No. 2 and a Canadian No. 7. Foreigner's third album, Head Games (1979), went to No. 5 in North America producing two Top 20 singles, including its title track. Reduced to a quartet, their album 4 (1981) hit No. 1 (for 10 weeks) in the US and No. 2 in Canada, while becoming Foreigner's break-through album outside of North America, going Top 5 in the UK, Germany and Australia. Three of 4’s singles were hits: "Urgent" reached No. 1 in Canada and on the new US Rock Tracks chart, rose to No. 4 on the US Hot 100 and became their first Top 15 hit in Germany; the ballad “Waiting for a Girl Like You” peaked at No. 2 in both the US (for a record 10 weeks) and Canada, topped the US Rock Tracks chart and became their first Top 10 hit in the UK and Australia; and "Juke Box Hero" reached No. 3 on the Rock Tracks chart and the Top 30 on the Hot 100. In 1982 Foreigner released its first greatest hits album, Records, which has gone on to sell 7 million copies in the US. In 1984 Foreigner had its biggest hit single, the anthemic ballad "I Want to Know What Love Is", which topped the US, UK, Canadian and Australian charts, while hitting No. 3 in Germany and the Top 10 in numerous other countries. Its source album, Agent Provocateur, was the band's most successful in the UK, Germany and some other countries in Europe, where it peaked at No. 1, and in Australia where it peaked at No. 3, while making the Top 5 in the US and Canada. After a break, Foreigner released Inside Information (1987), which despite the No. 6 US and Australian hit, “Say You Will” (which also rose to No. 1 on the US Rock Tracks chart) and the No. 5 US hit, “I Don’t Want to Live Without You” (which also reached No. 1 on the US Adult Comtemporary chart), had a large sales drop-off, only hitting the Top 10 in a few European countries with a No. 15 peak in the US. The band's most recent albums, Unusual Heat (1991), without Gramm, who departed due to the band's shift towards the use of synthesizers, Mr. Moonlight (1994), with Gramm back on vocals, and Can't Slow Down (2009), once again without Gramm, were not major sellers; the highest chart positions were obtained in Germany, where the last album peaked at No. 16. Foreigner is one of the world's best-selling bands of all time with worldwide sales of more than 80 million records, including 37.5 million in the US. Leader Mick Jones has been for many years the only founding member still involved. Band history Formation, 1976 Since its beginning, Foreigner has been led by English musician Mick Jones (former member of Nero and the Gladiators, Johnny Hallyday's band, Spooky Tooth and The Leslie West Band). After the collapse of the Leslie West Band in 1976, Jones found himself stranded in New York City; West's manager, Bud Prager, encouraged Jones to continue his songwriting and rehearse a band of his own in some space Prager had near his New York office. Jones got together with New York keyboardist Al Greenwood (who had just played with former Flash members Colin Carter and Mike Hough in a group called Storm), drummer Stan Williams and Louisiana bassist Jay Davis (later with Rod Stewart) and began jamming. Another friend, Stories singer Ian Lloyd, was brought in to sing but Jones decided the chemistry was not quite right and retained only Greenwood as he renewed his search for players. During a session for Ian Lloyd's album, Jones met up with transplanted Englishman and ex-King Crimson member Ian McDonald and another session for Ian Hunter unearthed another fellow Brit in drummer Dennis Elliott. But after auditioning about forty or fifty singers, the right vocalist was becoming harder to come by until Jones dragged out an old Black Sheep album given to him backstage at a Spooky Tooth concert a few years prior by that group's lead singer, Lou Gramm. Jones put in a call to Gramm, who was back in his hometown of Rochester, New York, after Black Sheep's break-up, and sent him a plane ticket to New York City. Gramm proved to be the missing piece of the puzzle and Brooklyn bassist Ed Gagliardi completed the new sextet. A name, "Trigger", was tentatively agreed to and was the name that appeared on their demo tape, but it was passed on by all the record companies it was delivered to. John Kalodner, a former journalist and radio programmer who was working in A&R at Atlantic Records, happened to spot a tape on Atlantic president Jerry L. Greenberg's desk with the Trigger identification on it. Kalodner had just been to hear an outfit called Trigger and realized that this was not the same band. He convinced Greenberg that at least one of the songs on the tape could be a big hit and to look into signing this group immediately. Because the Trigger name was already taken, Jones came up with the Foreigner moniker from the fact that no matter what country they were in, three would be foreigners, because he, McDonald and Elliott were English, while Gramm, Greenwood and Gagliardi were American. Debut album, March 1977 In November 1976, after six months of rehearsals, the newly named Foreigner started recording their debut album with producers John Sinclair and Gary Lyons at The Hit Factory but switched to Atlantic Recording Studios where they finished recording the basic tracks and completed the overdubs. The first attempt at mixing the album was done at Sarm Studios, London. But, because of the band's dissatisfaction with the results, the album was re-mixed back at Atlantic by Mick Jones, Ian McDonald and Jimmy Douglass. Bud Prager signed on as the group's manager, a role he would continue in for the next 17 years. The band's debut, Foreigner, was released in March 1977 and was certified for sales of five million copies in the United States, staying in the Top 20 for a year with a peak at No. 4. It also made the Top 10 in both Canada and Australia and went to No. 1 in Norway. Foreigner had three significant hits in North America with "Feels Like the First Time" hitting No. 4 in the US and No. 7 in Canada, "Cold as Ice" reaching No. 6 and No. 9 in the countries and "Long, Long Way from Home" peaking at around No. 20. "Cold as Ice" was also modestly successful in the UK, Australia, the Netherlands and Belgium where it reached the Top 20 or 30. 1977–1990 By May 1977, Foreigner was already headlining theaters and had already scored a gold record for the first album. Not long afterwards, they were selling out U.S. basketball arenas and hockey rinks. After a show at Memorial Hall in Kansas City, Kansas, on May 6, 1977, drummer Elliott injured his hand, prompting the band to call in Ian Wallace (ex-King Crimson) to play alongside Elliott on some of the dates until the hand was healed. After almost a year on the road, the band played before over two hundred thousand people at California Jam II on March 18, 1978, and during the following month, the band toured Europe, Japan and Australia for the first time. Their second album, Double Vision (released in June 1978), co-produced by Keith Olsen, topped their previous, selling seven million records in the US, peaking at No. 3 in both the US and Canada, while dropping to No. 13 in Australia. It was the band's first album to chart in the UK where it peaked at No. 32, but Double Vision (and their next two albums) did not chart in Norway where their debut album had gone No. 1. The album spawned hits that were even more successful in North America than those from their debut album with "Hot Blooded" hitting No. 3 in both countries, the title track "Double Vision" reaching No. 2 in the US and No. 7 in Canada with "Blue Morning, Blue Day" reaching No. 15 and No. 21. Aside from "Hot Blooded" reaching No. 24 in Australia there was little airplay or sales in other countries for the singles from Double Vision or from their next album, Head Games. Album number three, Head Games (September 1979), co-produced by Roy Thomas Baker, which was referred to by Gramm as their "grainiest" album, was also successful, in this case because of the thunderous "Dirty White Boy" and another title track hit "Head Games". Both songs were Top 15 hits in the US and Canada but did not chart in any other counties. The album reached No. 5 in North America but its sales dropped off substantially in Australia (No. 45) without any gains in any other countries. For Head Games, bassist Ed Gagliardi was replaced by Englishman Rick Wills. In his autobiography, Juke Box Hero (named after the seminal Foreigner song), Gramm explains why the band parted ways with Gagliardi: "He was a little headstrong and had his own ideas that weren't always compatible with what we were trying to accomplish. Ed was obstinate at times, playing the song the way he wanted to play it rather than the way it was drawn up. Jones often had to stop sessions to get Ed back on track. After a while it became tiresome and slowed down the recording process." Gramm went on to say that he was disappointed overall with Head Games and thought it sounded unfinished. It ended up selling about two million fewer than its predecessor. In September 1980 co-founders Al Greenwood and Ian McDonald were sacked as Jones wished to have more control over the band and write most of the music (along with Gramm). In his book, Gramm goes on to talk about this difficult time: "The chemistry that made the band right in the beginning didn't necessarily mean it would always be right. I think a pretty major communication lapse appeared and I don't think anybody really knew what anybody was feeling—the deep, inner belief about the direction of the band and how we were progressing. We had reached a point where there was a lot of dissatisfaction". In the liner notes for the 2000 release, Juke Box Heroes: The Foreigner Anthology, Jones went on to elaborate further: "Ian McDonald, who I consider a great musician and multi-instrumentalist, began to focus more and more on guitar playing, while I believed his true talent lay more in the dimensional and creative imagery he gave the first two albums. Al Greenwood, our keyboard wiz and a very important part of the Foreigner sound at the beginning, had also started to focus more on songwriting. Although both their contributions to the band had been vital, a conflict was developing about the musical direction of the band. I just felt we needed to clarify it. So Lou, Rick, Dennis and I made the decision, and that's when we went down to four." And according to McDonald in a 1999 interview, "Mick and Lou decided they wanted to be the focus of the band. Mick wanted to make it more apparent that it was his group, so he decided to make a smaller group. That was his decision. I wouldn't have left—I loved the group, it was not my decision." McDonald noted that there was much creative compromise working in the band and that he did more than he received credit for, much as he did in King Crimson. McDonald stated that "he had a lot to do with the making of those records and the arrangements and the creating of those songs, more than is probably apparent. I did a lot that went uncredited, which I was happy to do though. When you're in a group you must contribute as much as you can. I was happy to do that. But as I said, it maybe didn't appear that I was doing as much as I in fact was. I had a lot to do with that group... as well as... Mick Jones, obviously, and everyone else—I'm not trying to take all the credit, but I'm just saying that I was there, I was involved, and I loved it." The band was now stripped down to a quartet, with session players brought in as needed to record or tour (see below for complete list of members). Greenwood soon joined Gagliardi to form the AOR band Spys, with John Blanco, Billy Milne and John DiGaudio. The band released two albums, an eponymous debut, and the follow-up Behind Enemy Lines. In the meantime, Foreigner began work on the next album at Electric Lady Studios in New York City with producer Robert John "Mutt" Lange, engineered by Dave Wittman (currently with Trans-Siberian Orchestra). 4 (released in July 1981) contained the hits "Urgent" (which includes the famous Junior Walker sax solo), "Waiting for a Girl Like You", "Juke Box Hero" and "Break it Up". Before releasing albums of his own, Thomas Dolby played synthesizers on 4 (he contributed the signature synth sound on "Urgent" and played the intro to "Waiting for a Girl Like You"). 4 became Foreigners first and only No 1. album in the US, spending 10 weeks in that position, and peaked at No. 2 in Canada. It also became the band's break-through album overseas, reaching the Top 5 in the UK, Germany and Australia. The first single, "Urgent" peaked at No. 4 on the US Hot 100 and topped US Album Rock Tracks chart and the Canadian RPM Singles Chart. It also became their biggest hit to date in Germany reaching the Top 15 there, higher than the other singles from the album, but was less successful in Australia, peaking at No. 24 and the UK, where it did not chart. The second single, "Juke Box Hero" was very successful on rock stations in North America, reaching No. 3 on the US Rock Tracks chart, but only reached No. 26 on the US Hot 100 and No. 39 in Canada, while reaching the Top 30 in Germany and France, their first song to chart in the later. The third single released, the power ballad, “Waiting for a Girl Like You”, went to No. 2 on the US Hot 100 for a record 10 consecutive weeks and, like "Urgent", topped the US Rock Tracks chart. It also went to No. 2 in Canada and also became their first single to reach the Top 10 in the UK (No. 8) and Australia (No. 3) while reaching the Top 20 in the Netherlands and Belgium and the Top 30 in Germany and France. For their 1981–82 tour in support of 4, the group added Peter Reilich (keyboards, synthesizers, who had played with Gary Wright), former Peter Frampton band member Bob Mayo (keyboards, synthesizers, guitar, backing vocals) and Mark Rivera (sax, flute, keyboards, synthesizers, guitar, backing vocals). Mayo and Rivera had also appeared on the sessions for 4. Reilich was dropped in May 1982 but Mayo and Rivera continued with the band through 1988. Foreigner's next album, Agent Provocateur, co-produced by Alex Sadkin, was released in December 1984 and in 1985 gave them their first and only No. 1 hit song in the US and several other countries (except for Canada were "Urgent" had done the trick) when "I Want to Know What Love Is", a ballad backed by Jennifer Holliday and the New Jersey Mass Choir, topped the charts in the US (both Hot 100 and Rock Tracks), UK, Canada, Australia, New Zealand, Norway, Sweden, etc. while hitting No. 3 in Germany (their only Top 10 hit there), No. 4 in France (their only Top 20 hit there) and No. 6 in both the Netherlands and Belgium. "That Was Yesterday" was the next single from the album in early 1985 and proved to be another sizable hit reaching No. 12 on the US Hot 100 (No. 4 on Rock Tracks) and the Top 30 in several other countries. The album was equally successful becoming Foreigner's only No. 1 album in the UK, Germany and Norway while reaching No. 3 in Australia (its biggest album there) and Canada, and No. 4 in the US and New Zealand (its biggest album there). It was certified 3x platinum in the US, their lowest selling album to date in that country. During their 1985 summer/fall tour, Foreigner appeared at the first Farm Aid on September 22 in Champaign, Illinois. In between his Foreigner commitments, Jones also started a side career as a producer for such albums as Van Halen's 5150 (1986), Bad Company's Fame and Fortune (1986) and Billy Joel's Storm Front (1989). In December 1987 Foreigner released Inside Information, spawning hits such as "Say You Will" and "I Don't Want to Live Without You". On May 14, 1988, the band headlined Atlantic Records 40th Anniversary concert at Madison Square Garden, culminating with "I Want to Know What Love Is", in which the likes of Phil Collins, Crosby, Stills and Nash, Roberta Flack and other Atlantic artists joined in, singing in the choir. Later during the summer, the band went back on the road but the touring for Inside Information was limited to Europe, Japan and Australia. For this tour, Rivera and Mayo were not available, so Larry Oakes (guitar, keyboards, synthesizers, backing vocals) and Lou Cortelezzi (sax) augmented the quartet of Gramm, Jones, Elliott and Wills. Lead vocalist Gramm's departure, May 1990 In the late 1980s, Jones and Gramm each put out solo efforts on Atlantic. Gramm released Ready or Not in January 1987 and shortly after its release, rehearsals for Foreigner's next album had started but ground to a halt as Gramm's status with the group was uncertain. But after the promotion and concert dates for Gramm's album were finished, cooler heads prevailed and Lou rejoined Foreigner in the studio for Inside Information, which was out at the end of 1987. Jones had Mick Jones in August 1989, then Gramm followed with his second solo release, Long Hard Look (October 1989), and decided to leave the group in May 1990 while preparing to tour behind Long Hard Look as the opener for Steve Miller Band. After finishing this tour, Gramm went on to form the short-lived band Shadow King, which put out one eponymous album on Atlantic in October 1991. Meanwhile, Jones brought in a new lead singer, Johnny Edwards (formerly of the bands Buster Brown, Montrose, King Kobra, Northrup and Wild Horses). Edwards made his first live appearance with Foreigner at the Long Island club Stephen Talkhouse on August 15, 1990, where he, Jones, Dennis Elliott and Rick Wills appeared, joined by special guests Terry Thomas (on guitar, who produced their next album) and Eddie Mack on harmonica. The new edition of Foreigner released the album Unusual Heat in June 1991. This was at the time their worst-selling album and only climbed as high as No. 117 on the Billboard 200, although "Lowdown and Dirty" was a minor mainstream rock hit, reaching No. 4 on that chart. In July 1991 the new lineup of Foreigner played some European dates then made its official U.S. debut on August 9 performing on the second night of a Billy Joel benefit concert at Deep Hollow Ranch in Montauk, New York, to raise funds for the preservation of Montauk Point Lighthouse. For their 1991 tour, Jeff Jacobs, who had played in Joel's band, was brought in as the new keyboardist and Mark Rivera returned. But during the fall leg of this tour, Elliott decided to leave the group after a concert at The Ritz in NYC on November 14, 1991, and embark on a career as a wood sculptor. Larry Aberman was then recruited as a temporary replacement until Mark Schulman arrived in 1992 as drummer for the next three years. Scott Gilman (guitar, sax, flute) joined the touring band in 1992 and Thom Gimbel took over from Gilman and Rivera in late 1992 after they departed. When Gimbel went to Aerosmith in 1993, Gilman returned to handle the guitar/sax/flute duties until Gimbel came back permanently in the spring of 1995. Gramm returns, 1992 During the Los Angeles riots, inside the confines of the Sunset Marquis Hotel in West Hollywood, where Mick Jones had gone to meet with Lou Gramm, they both ended up sequestered by a city curfew. They decided to use their time together resurrecting their partnership. "I flew to Los Angeles, during the riots," says Gramm. "We got flown to John Wayne Airport instead of LAX because they were shooting at the planes. Mick and I were holed up in the Sunset Marquis in L.A., with armed security guards walking around on the roof. It was a little weird, to say the least." Gramm ended up rejoining Foreigner, bringing along his Shadow King bandmate bassist Bruce Turgon to replace bassist Wills (who'd left after the band's 1991 tour after a falling out with Jones) and co-produced the band's second greatest hits album, The Very Best ... and Beyond (September 1992), which included three new songs. 1994–2003 In October 1994 Foreigner released what was supposed to be a comeback album, Mr. Moonlight, in Japan. Featuring new drummer Mark Schulman and augmented by a fifth member, keyboardist Jeff Jacobs, this album was not released in the U.S. until February 1995 and fared even worse than Unusual Heat. It only peaked at No. 136 on the Billboard 200, although the ballad "Until the End of Time" was a minor hit, reaching No. 42 on the Billboard Hot 100. In January 1995 Ron Wikso (who had played in The Storm with former Journey members Gregg Rolie and Ross Valory) took over percussion duties from Schulman, and Brian Tichy succeeded Wikso in 1998 before Schulman would return in 2000. In 1997 Gramm underwent surgery to remove a brain tumor. The medications he was prescribed caused considerable weight gain and weakened his singing voice. By 1998, the band was back on the road, but Gramm was visibly struggling and it would take him several years to get back to the point where he felt comfortable on stage. In the summer of 1999, Foreigner went on tour as the opening act for Journey and the following summer, Jeff Jacobs had to leave the road for a short time during the band's 2000 summer tour while his wife was giving birth to their child. Keyboardist John Purdell (who had been co-producer of the new tracks on their 1992 album The Very Best of ... and Beyond) stepped in to sub for Jacobs until he was able to return. Vocalist Scott Garrett of the tribute band "Cold as ice" stepped in for Gramm on lead vocals. In 2001 the Warner Music Group selected Foreigner and 4 to be among the first group of albums from their catalog to be remastered, enhanced and released in the new DVD Audio format. In 2002 the 25th Anniversary Year brought affirmation of the enduring respect for Foreigner recordings with Rhino Entertainment reissuing the 1977 to 1981 multi-platinum albums in special enhanced formats. Foreigner, Double Vision, Head Games and 4 received the attention of Rhino's staff with new photos, liner notes and bonus tracks of previously unreleased material. New greatest hits albums were also produced in the U.S. and in Europe. The U.S. version reached No. 80 on the Billboard 200 Album chart. For the group's 25th Anniversary Tour in 2002, they were joined by former Heart and Montrose beat keeper Denny Carmassi. In late October/early November, then December, of 2002, Foreigner played in Belgium and Germany at the annual Night of the Proms festival. It was the last time that Lou Gramm and Mick Jones would play together until June 2013. Gramm would leave the group in early 2003. Jones stated that he and Gramm split because they weren't communicating: "I think we really tried hard to save it, but it got to the point when we both realized that to go on would be detrimental for both of us." New lead vocalist Kelly Hansen, March 2005 Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004, in Santa Barbara, California, at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy dubbed "Mick Jones & Friends" that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only. Inspired by the event and further encouraged by Jason Bonham, Jones continued the search for a new frontman. He would eventually find former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West appeared briefly with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Can't Slow Down, Jones' health issues, and Acoustique (2007–2012) Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007—the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. Foreigner released a new album on September 29, 2009, titled Can't Slow Down. It was one of several recent classic rock releases (AC/DC, the Eagles, Journey and Kiss being four others) to be released exclusively through the Walmart stores chain in the US, while in Europe the album was released by earMUSIC (a label part of the Edel group), charting top 20 in Germany (16) and Top 30 in Switzerland. Can't Slow Down debuted at No. 29 on the Billboard 200. The first two singles from the album, "When It Comes to Love" and "In Pieces" both reached the Top 20 on Billboard's Adult Contemporary chart. In 2010 it was awarded a gold certification from the Independent Music Companies Association, which indicated sales of at least 100,000 copies throughout Europe. In early 2010, Foreigner teamed up with Styx and Kansas for the United in Rock Tour. On May 4, 2010, it was announced that Brian Tichy's replacement as drummer would be Jason Sutter. Jason Sutter's time with the band was short as he left by 2011. Mark Schulman then returned to Foreigner for his third go-round as drummer. On February 20, 2011, the band played for the first time in Bangalore, India along with sitar player Niladri Kumar. In June 2011 Foreigner (again along with Styx) co-headlined with Journey on their UK tour. After this, they joined up with Journey and Night Ranger on a triple bill summer/fall tour of the US. For some dates of this tour, Brian Tichy filled in for Foreigner's drummer Mark Schulman when he was not available. From August 19 to September 10, 2011, Night Ranger guitarist Joel Hoekstra did double duty playing for NR as well as subbing for Jones, who had taken ill. Right after this, guitarist Bruce Watson (ex-Rod Stewart) was brought in as Jones' stand-in for the tour's remaining dates and continued to tour with the group when they hit the road again in February 2012 after Jones underwent aortoiliac bypass surgery in Miami. On October 4, 2011, Foreigner released Acoustique, which presented their best and most famous songs, along with some newer tracks, recorded in stripped-down acoustic mode. In May 2012 after being diagnosed with colorectal cancer, Bluestein was forced to take a leave of absence from the band. His stand in on keyboards was Ollie Marland. Bluestein was able to return to the group in August 2012 and Tichy once again rejoined in the interim until his schedule with Whitesnake called him away. In September 2012, the man Tichy replaced in Whitesnake, Chris Frazier, became Foreigner's new percussionist. On August 31, 2012, after over a year away, Jones returned to the concert stage at Atlanta's Chastain Park. Guitarist Watson, in the meantime, stayed on until Jones was able to return to full health. At this very same show, keyboardist Derek Hilland (ex-Iron Butterfly, Whitesnake and Rick Springfield) came on board to sub for Bluestein for the group's late summer/fall tour dates and again during the winter/spring of 2013 until Bluestein was able to return. 2013–present On January 9, 2013, the band's original drummer, Dennis Elliott, joined Foreigner on stage at the Hard Rock Cafe in Hollywood, Florida, to play on "Hot Blooded". In addition to touring small clubs and venues, the band frequently is engaged for private parties and conventions, including playing at SeaWorld in Orlando for an IBM Rational Conference (June 6, 2012), at the Gaylord convention center in Washington, D.C., for the Teradata Partners 2012 conference (October 25, 2012) and at SAP's Field Kickoff Meeting in Las Vegas (January 23, 2013). On June 13, 2013, at the 44th Annual Songwriters Hall of Fame Award Ceremony, Jones and Gramm were officially inducted to the Songwriters Hall of Fame. Billy Joel was on hand to induct Jones and Gramm, singing snippets of Foreigner's hits in his introduction speech. Jones said he was proud as the honor makes his work "legit". The duo then took stage one more time and, along with Thom Gimbel and the house band, performed "Juke Box Hero" and "I Want to Know What Love Is" with Anthony Morgan's Inspirational Choir of Harlem—a performance that brought the entire audience to its feet. In 2014 Foreigner teamed up with Styx and former Eagles guitarist Don Felder for the Soundtrack of Summer Tour. Original bassist Ed Gagliardi died on May 11, 2014, aged 62, after an eight-year battle with cancer. Although discussions of an original member reunion had been proposed, the original band had not performed together since 1979. On June 18, 2014, Foreigner teamed up with the Brockton High School concert choir at the Leader Bank Pavilion in Boston, MA. They performed one of their greatest hits: I Want To Know What Love Is. On January 12, 2015, in Sarasota, Florida, Foreigner were joined on stage by original drummer Dennis Elliott and former bassist Rick Wills to play "Hot Blooded". In Hartford, Connecticut, on June 24, 2015, Foreigner began a summer tour as the opening act for Kid Rock. Foreigner appeared on the "Today Show" on February 11, 2016, along with the choir from Our Lady of Mercy Academy to promote their Acoustic Tour and the release of their new album, In Concert: Unplugged. On Saturday September 24, 2016, Foreigner performed before an estimated 20,000+ people at the 100th anniversary of the Durham Fair in Durham, Connecticut. The encore song "I Want to Know What Love Is" utilized the local Coginchaug High School concert choir for backup—their performance having been rehearsed with the band via Skype during the previous months. In a 2016 interview, Jones talked about a possible 40th-anniversary reunion tour, featuring the Head Games-era lineup: "It's quite possible. We've actually been talking about it. I'm not at a point where I can say it's definitely gonna happen, but we're all working on trying to make it happen. It's kind of exciting. And hopefully it'll be feasible and possible to pull it off next year (2017). Lou (Gramm) and I have communicated and we've kept up a sort of loose communication as I have actually also with Ian McDonald, Al Greenwood, Dennis Elliott and Rick Wills. We're at the early stages, but we're trying to put something together to commemorate (it's scary when I say it) 40 years." On November 25, 2016, in celebration of their 40th anniversary, Foreigner released a limited-edition 10-inch vinyl EP, The Flame Still Burns, on Rhino Records for Record Store Day's Black Friday event. The EP's track listing contained the title song (which had previously appeared on Foreigner's Acoustique album and had earlier been featured in the 1998 film Still Crazy) plus live unplugged versions of "Feels Like The First Time", "Long, Long Way From Home" and "Juke Box Hero". On July 20, 2017, at Jones Beach Theater in New York, the current Foreigner lineup were joined for their encore by Lou Gramm, Ian McDonald and Al Greenwood to help celebrate the band's 40th anniversary and Greenwood and McDonald came back the following year to take the stage with the group for their Jones Beach show on June 22, 2018. Dennis Elliott likewise joined his old mates for two songs at Foreigner's show on August 2, 2017, at MidFlorida Credit Union Amphitheatre in Tampa, Florida. Another reunion was announced for a pair of shows to take place on October 6–7, 2017, at the Soaring Eagle Casino & Resort in Mount Pleasant, Michigan, where the group was set to be joined again by Lou Gramm, Dennis Elliott, Al Greenwood, Ian McDonald and Rick Wills. The concerts were filmed for future release, appearing on PBS stations in the U.S. on June 8, 2018. In a July 2018 interview with OC Weekly, bassist Jeff Pilson said that Foreigner has no plans to release a new studio album, but will continue to release singles periodically. On November 9, 2018, all surviving original members of Foreigner came on stage to play alongside the current line-up for a show at Microsoft Theater in Los Angeles, beginning a series of "Foreigner Then and Now" concerts set to run through the end of the year. In October 2019, the group was slated once again to be joined by the surviving original players for a handful of shows as the Double Vision: Then And Now tour. However, on October 2, it was announced that Lou Gramm would not be taking part in these dates due to illness. Foreigner announced a 2020 summer tour with support from Kansas and Europe called "Juke Box Heroes" in reference to the song of the same name. On May 19, 2020, Foreigner announced the band's Juke Box Heroes 2020 Tour was canceled, due to the COVID-19 pandemic. On March 18, 2021, Pilson announced that Thom Gimbel would be departing from the band. Pilson would later confirm on March 20, 2021, that Foreigner are working on new music: "[But] we are working on some music. So I think that what's gonna happen is whatever other things we release in the next couple of years, there will be some new songs added to it. So that's what I see kind of happening. 'Cause we're working on a few that are not that far away. So I would say expect a package deal to have a couple of new songs on it." Jones has been absent from the band's 2021 tour, leaving no members from the original or classic line up. Thus, none of the band's current line up played on the original versions of any songs. It was falsely reported Jones joined the band at their show in New Brunswick, NJ on October 29, 2021 for Hot Blooded; rather, it was former bassist Wills. Band members Current Mick Jones – lead and rhythm guitars, keyboards, backing and lead vocals Jeff Pilson – bass, keyboards, backing vocals Kelly Hansen – lead vocals, percussion Michael Bluestein – keyboards, backing vocals Bruce Watson – rhythm and lead guitars, backing vocals Chris Frazier – drums, percussion Luis Maldonado – rhythm guitar, bass, backing vocals Former Lou Gramm – lead vocals, percussion Dennis Elliott – drums, percussion, occasional backing vocals Ian McDonald – rhythm and lead guitars, keyboards, saxophone, flute, backing vocals Al Greenwood – keyboards, synthesizers Ed Gagliardi – bass, backing vocals Rick Wills – bass, backing vocals Johnny Edwards – lead vocals, rhythm and lead guitars Jeff Jacobs – keyboards, backing vocals Thom Gimbel – rhythm guitar, keyboards, backing vocals, saxophone, flute Mark Schulman – drums, backing vocals Bruce Turgon – bass, backing vocals Scott Garrett – lead vocals Ron Wikso – drums Brian Tichy – drums Denny Carmassi – drums Jason Bonham – drums Chas West – lead vocals Paul Mirkovich – keyboards Jason Sutter – drums Discography Studio albums Foreigner (1977) Double Vision (1978) Head Games (1979) 4 (1981) Agent Provocateur (1984) Inside Information (1987) Unusual Heat (1991) Mr. Moonlight (1994) Can't Slow Down (2009) See also List of best-selling music artists List of number-one hits (United States) List of number-one albums (United States) List of best-selling albums in the United States List of artists who reached number one in the United States List of artists who reached number one on the U.S. Mainstream Rock chart References External links Lou Gramm's official website 1976 establishments in New York (state) American pop rock music groups Atlantic Records artists British hard rock musical groups British pop rock music groups Hard rock musical groups from New York (state) Musical groups established in 1976 Musical groups from London Musical groups from New York City

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How many frontmen did the band go through?

How many frontmen did Foreigner go through?

Foreigner (band)

Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004 in Santa Barbara, California at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy with a brand new version of Foreigner that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only and was eventually replaced by former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West briefly continued with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007 - the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. CANNOTANSWER

CANNOTANSWER

Foreigner is a British-American rock band, originally formed in New York City in 1976 by veteran British guitarist and songwriter Mick Jones and fellow Briton and ex-King Crimson member Ian McDonald, along with American vocalist Lou Gramm. Jones came up with the band's name as he, McDonald and Dennis Elliott were British, whereas Gramm, Al Greenwood and Ed Gagliardi were American. In 1977 Foreigner released its self-titled debut album, the first of four straight albums to be certified at least 5x platinum in the US. Foreigner peaked at No. 4 on the US album chart and in the Top 10 in Canada and Australia, while yielding two Top 10 hits in North America, "Feels Like the First Time" and "Cold as Ice". Their 1978 follow-up, Double Vision, was even more successful peaking at No. 3 in North America with two hit singles, “Hot Blooded” a No. 3 hit in both countries, and the title track, a US No. 2 and a Canadian No. 7. Foreigner's third album, Head Games (1979), went to No. 5 in North America producing two Top 20 singles, including its title track. Reduced to a quartet, their album 4 (1981) hit No. 1 (for 10 weeks) in the US and No. 2 in Canada, while becoming Foreigner's break-through album outside of North America, going Top 5 in the UK, Germany and Australia. Three of 4’s singles were hits: "Urgent" reached No. 1 in Canada and on the new US Rock Tracks chart, rose to No. 4 on the US Hot 100 and became their first Top 15 hit in Germany; the ballad “Waiting for a Girl Like You” peaked at No. 2 in both the US (for a record 10 weeks) and Canada, topped the US Rock Tracks chart and became their first Top 10 hit in the UK and Australia; and "Juke Box Hero" reached No. 3 on the Rock Tracks chart and the Top 30 on the Hot 100. In 1982 Foreigner released its first greatest hits album, Records, which has gone on to sell 7 million copies in the US. In 1984 Foreigner had its biggest hit single, the anthemic ballad "I Want to Know What Love Is", which topped the US, UK, Canadian and Australian charts, while hitting No. 3 in Germany and the Top 10 in numerous other countries. Its source album, Agent Provocateur, was the band's most successful in the UK, Germany and some other countries in Europe, where it peaked at No. 1, and in Australia where it peaked at No. 3, while making the Top 5 in the US and Canada. After a break, Foreigner released Inside Information (1987), which despite the No. 6 US and Australian hit, “Say You Will” (which also rose to No. 1 on the US Rock Tracks chart) and the No. 5 US hit, “I Don’t Want to Live Without You” (which also reached No. 1 on the US Adult Comtemporary chart), had a large sales drop-off, only hitting the Top 10 in a few European countries with a No. 15 peak in the US. The band's most recent albums, Unusual Heat (1991), without Gramm, who departed due to the band's shift towards the use of synthesizers, Mr. Moonlight (1994), with Gramm back on vocals, and Can't Slow Down (2009), once again without Gramm, were not major sellers; the highest chart positions were obtained in Germany, where the last album peaked at No. 16. Foreigner is one of the world's best-selling bands of all time with worldwide sales of more than 80 million records, including 37.5 million in the US. Leader Mick Jones has been for many years the only founding member still involved. Band history Formation, 1976 Since its beginning, Foreigner has been led by English musician Mick Jones (former member of Nero and the Gladiators, Johnny Hallyday's band, Spooky Tooth and The Leslie West Band). After the collapse of the Leslie West Band in 1976, Jones found himself stranded in New York City; West's manager, Bud Prager, encouraged Jones to continue his songwriting and rehearse a band of his own in some space Prager had near his New York office. Jones got together with New York keyboardist Al Greenwood (who had just played with former Flash members Colin Carter and Mike Hough in a group called Storm), drummer Stan Williams and Louisiana bassist Jay Davis (later with Rod Stewart) and began jamming. Another friend, Stories singer Ian Lloyd, was brought in to sing but Jones decided the chemistry was not quite right and retained only Greenwood as he renewed his search for players. During a session for Ian Lloyd's album, Jones met up with transplanted Englishman and ex-King Crimson member Ian McDonald and another session for Ian Hunter unearthed another fellow Brit in drummer Dennis Elliott. But after auditioning about forty or fifty singers, the right vocalist was becoming harder to come by until Jones dragged out an old Black Sheep album given to him backstage at a Spooky Tooth concert a few years prior by that group's lead singer, Lou Gramm. Jones put in a call to Gramm, who was back in his hometown of Rochester, New York, after Black Sheep's break-up, and sent him a plane ticket to New York City. Gramm proved to be the missing piece of the puzzle and Brooklyn bassist Ed Gagliardi completed the new sextet. A name, "Trigger", was tentatively agreed to and was the name that appeared on their demo tape, but it was passed on by all the record companies it was delivered to. John Kalodner, a former journalist and radio programmer who was working in A&R at Atlantic Records, happened to spot a tape on Atlantic president Jerry L. Greenberg's desk with the Trigger identification on it. Kalodner had just been to hear an outfit called Trigger and realized that this was not the same band. He convinced Greenberg that at least one of the songs on the tape could be a big hit and to look into signing this group immediately. Because the Trigger name was already taken, Jones came up with the Foreigner moniker from the fact that no matter what country they were in, three would be foreigners, because he, McDonald and Elliott were English, while Gramm, Greenwood and Gagliardi were American. Debut album, March 1977 In November 1976, after six months of rehearsals, the newly named Foreigner started recording their debut album with producers John Sinclair and Gary Lyons at The Hit Factory but switched to Atlantic Recording Studios where they finished recording the basic tracks and completed the overdubs. The first attempt at mixing the album was done at Sarm Studios, London. But, because of the band's dissatisfaction with the results, the album was re-mixed back at Atlantic by Mick Jones, Ian McDonald and Jimmy Douglass. Bud Prager signed on as the group's manager, a role he would continue in for the next 17 years. The band's debut, Foreigner, was released in March 1977 and was certified for sales of five million copies in the United States, staying in the Top 20 for a year with a peak at No. 4. It also made the Top 10 in both Canada and Australia and went to No. 1 in Norway. Foreigner had three significant hits in North America with "Feels Like the First Time" hitting No. 4 in the US and No. 7 in Canada, "Cold as Ice" reaching No. 6 and No. 9 in the countries and "Long, Long Way from Home" peaking at around No. 20. "Cold as Ice" was also modestly successful in the UK, Australia, the Netherlands and Belgium where it reached the Top 20 or 30. 1977–1990 By May 1977, Foreigner was already headlining theaters and had already scored a gold record for the first album. Not long afterwards, they were selling out U.S. basketball arenas and hockey rinks. After a show at Memorial Hall in Kansas City, Kansas, on May 6, 1977, drummer Elliott injured his hand, prompting the band to call in Ian Wallace (ex-King Crimson) to play alongside Elliott on some of the dates until the hand was healed. After almost a year on the road, the band played before over two hundred thousand people at California Jam II on March 18, 1978, and during the following month, the band toured Europe, Japan and Australia for the first time. Their second album, Double Vision (released in June 1978), co-produced by Keith Olsen, topped their previous, selling seven million records in the US, peaking at No. 3 in both the US and Canada, while dropping to No. 13 in Australia. It was the band's first album to chart in the UK where it peaked at No. 32, but Double Vision (and their next two albums) did not chart in Norway where their debut album had gone No. 1. The album spawned hits that were even more successful in North America than those from their debut album with "Hot Blooded" hitting No. 3 in both countries, the title track "Double Vision" reaching No. 2 in the US and No. 7 in Canada with "Blue Morning, Blue Day" reaching No. 15 and No. 21. Aside from "Hot Blooded" reaching No. 24 in Australia there was little airplay or sales in other countries for the singles from Double Vision or from their next album, Head Games. Album number three, Head Games (September 1979), co-produced by Roy Thomas Baker, which was referred to by Gramm as their "grainiest" album, was also successful, in this case because of the thunderous "Dirty White Boy" and another title track hit "Head Games". Both songs were Top 15 hits in the US and Canada but did not chart in any other counties. The album reached No. 5 in North America but its sales dropped off substantially in Australia (No. 45) without any gains in any other countries. For Head Games, bassist Ed Gagliardi was replaced by Englishman Rick Wills. In his autobiography, Juke Box Hero (named after the seminal Foreigner song), Gramm explains why the band parted ways with Gagliardi: "He was a little headstrong and had his own ideas that weren't always compatible with what we were trying to accomplish. Ed was obstinate at times, playing the song the way he wanted to play it rather than the way it was drawn up. Jones often had to stop sessions to get Ed back on track. After a while it became tiresome and slowed down the recording process." Gramm went on to say that he was disappointed overall with Head Games and thought it sounded unfinished. It ended up selling about two million fewer than its predecessor. In September 1980 co-founders Al Greenwood and Ian McDonald were sacked as Jones wished to have more control over the band and write most of the music (along with Gramm). In his book, Gramm goes on to talk about this difficult time: "The chemistry that made the band right in the beginning didn't necessarily mean it would always be right. I think a pretty major communication lapse appeared and I don't think anybody really knew what anybody was feeling—the deep, inner belief about the direction of the band and how we were progressing. We had reached a point where there was a lot of dissatisfaction". In the liner notes for the 2000 release, Juke Box Heroes: The Foreigner Anthology, Jones went on to elaborate further: "Ian McDonald, who I consider a great musician and multi-instrumentalist, began to focus more and more on guitar playing, while I believed his true talent lay more in the dimensional and creative imagery he gave the first two albums. Al Greenwood, our keyboard wiz and a very important part of the Foreigner sound at the beginning, had also started to focus more on songwriting. Although both their contributions to the band had been vital, a conflict was developing about the musical direction of the band. I just felt we needed to clarify it. So Lou, Rick, Dennis and I made the decision, and that's when we went down to four." And according to McDonald in a 1999 interview, "Mick and Lou decided they wanted to be the focus of the band. Mick wanted to make it more apparent that it was his group, so he decided to make a smaller group. That was his decision. I wouldn't have left—I loved the group, it was not my decision." McDonald noted that there was much creative compromise working in the band and that he did more than he received credit for, much as he did in King Crimson. McDonald stated that "he had a lot to do with the making of those records and the arrangements and the creating of those songs, more than is probably apparent. I did a lot that went uncredited, which I was happy to do though. When you're in a group you must contribute as much as you can. I was happy to do that. But as I said, it maybe didn't appear that I was doing as much as I in fact was. I had a lot to do with that group... as well as... Mick Jones, obviously, and everyone else—I'm not trying to take all the credit, but I'm just saying that I was there, I was involved, and I loved it." The band was now stripped down to a quartet, with session players brought in as needed to record or tour (see below for complete list of members). Greenwood soon joined Gagliardi to form the AOR band Spys, with John Blanco, Billy Milne and John DiGaudio. The band released two albums, an eponymous debut, and the follow-up Behind Enemy Lines. In the meantime, Foreigner began work on the next album at Electric Lady Studios in New York City with producer Robert John "Mutt" Lange, engineered by Dave Wittman (currently with Trans-Siberian Orchestra). 4 (released in July 1981) contained the hits "Urgent" (which includes the famous Junior Walker sax solo), "Waiting for a Girl Like You", "Juke Box Hero" and "Break it Up". Before releasing albums of his own, Thomas Dolby played synthesizers on 4 (he contributed the signature synth sound on "Urgent" and played the intro to "Waiting for a Girl Like You"). 4 became Foreigners first and only No 1. album in the US, spending 10 weeks in that position, and peaked at No. 2 in Canada. It also became the band's break-through album overseas, reaching the Top 5 in the UK, Germany and Australia. The first single, "Urgent" peaked at No. 4 on the US Hot 100 and topped US Album Rock Tracks chart and the Canadian RPM Singles Chart. It also became their biggest hit to date in Germany reaching the Top 15 there, higher than the other singles from the album, but was less successful in Australia, peaking at No. 24 and the UK, where it did not chart. The second single, "Juke Box Hero" was very successful on rock stations in North America, reaching No. 3 on the US Rock Tracks chart, but only reached No. 26 on the US Hot 100 and No. 39 in Canada, while reaching the Top 30 in Germany and France, their first song to chart in the later. The third single released, the power ballad, “Waiting for a Girl Like You”, went to No. 2 on the US Hot 100 for a record 10 consecutive weeks and, like "Urgent", topped the US Rock Tracks chart. It also went to No. 2 in Canada and also became their first single to reach the Top 10 in the UK (No. 8) and Australia (No. 3) while reaching the Top 20 in the Netherlands and Belgium and the Top 30 in Germany and France. For their 1981–82 tour in support of 4, the group added Peter Reilich (keyboards, synthesizers, who had played with Gary Wright), former Peter Frampton band member Bob Mayo (keyboards, synthesizers, guitar, backing vocals) and Mark Rivera (sax, flute, keyboards, synthesizers, guitar, backing vocals). Mayo and Rivera had also appeared on the sessions for 4. Reilich was dropped in May 1982 but Mayo and Rivera continued with the band through 1988. Foreigner's next album, Agent Provocateur, co-produced by Alex Sadkin, was released in December 1984 and in 1985 gave them their first and only No. 1 hit song in the US and several other countries (except for Canada were "Urgent" had done the trick) when "I Want to Know What Love Is", a ballad backed by Jennifer Holliday and the New Jersey Mass Choir, topped the charts in the US (both Hot 100 and Rock Tracks), UK, Canada, Australia, New Zealand, Norway, Sweden, etc. while hitting No. 3 in Germany (their only Top 10 hit there), No. 4 in France (their only Top 20 hit there) and No. 6 in both the Netherlands and Belgium. "That Was Yesterday" was the next single from the album in early 1985 and proved to be another sizable hit reaching No. 12 on the US Hot 100 (No. 4 on Rock Tracks) and the Top 30 in several other countries. The album was equally successful becoming Foreigner's only No. 1 album in the UK, Germany and Norway while reaching No. 3 in Australia (its biggest album there) and Canada, and No. 4 in the US and New Zealand (its biggest album there). It was certified 3x platinum in the US, their lowest selling album to date in that country. During their 1985 summer/fall tour, Foreigner appeared at the first Farm Aid on September 22 in Champaign, Illinois. In between his Foreigner commitments, Jones also started a side career as a producer for such albums as Van Halen's 5150 (1986), Bad Company's Fame and Fortune (1986) and Billy Joel's Storm Front (1989). In December 1987 Foreigner released Inside Information, spawning hits such as "Say You Will" and "I Don't Want to Live Without You". On May 14, 1988, the band headlined Atlantic Records 40th Anniversary concert at Madison Square Garden, culminating with "I Want to Know What Love Is", in which the likes of Phil Collins, Crosby, Stills and Nash, Roberta Flack and other Atlantic artists joined in, singing in the choir. Later during the summer, the band went back on the road but the touring for Inside Information was limited to Europe, Japan and Australia. For this tour, Rivera and Mayo were not available, so Larry Oakes (guitar, keyboards, synthesizers, backing vocals) and Lou Cortelezzi (sax) augmented the quartet of Gramm, Jones, Elliott and Wills. Lead vocalist Gramm's departure, May 1990 In the late 1980s, Jones and Gramm each put out solo efforts on Atlantic. Gramm released Ready or Not in January 1987 and shortly after its release, rehearsals for Foreigner's next album had started but ground to a halt as Gramm's status with the group was uncertain. But after the promotion and concert dates for Gramm's album were finished, cooler heads prevailed and Lou rejoined Foreigner in the studio for Inside Information, which was out at the end of 1987. Jones had Mick Jones in August 1989, then Gramm followed with his second solo release, Long Hard Look (October 1989), and decided to leave the group in May 1990 while preparing to tour behind Long Hard Look as the opener for Steve Miller Band. After finishing this tour, Gramm went on to form the short-lived band Shadow King, which put out one eponymous album on Atlantic in October 1991. Meanwhile, Jones brought in a new lead singer, Johnny Edwards (formerly of the bands Buster Brown, Montrose, King Kobra, Northrup and Wild Horses). Edwards made his first live appearance with Foreigner at the Long Island club Stephen Talkhouse on August 15, 1990, where he, Jones, Dennis Elliott and Rick Wills appeared, joined by special guests Terry Thomas (on guitar, who produced their next album) and Eddie Mack on harmonica. The new edition of Foreigner released the album Unusual Heat in June 1991. This was at the time their worst-selling album and only climbed as high as No. 117 on the Billboard 200, although "Lowdown and Dirty" was a minor mainstream rock hit, reaching No. 4 on that chart. In July 1991 the new lineup of Foreigner played some European dates then made its official U.S. debut on August 9 performing on the second night of a Billy Joel benefit concert at Deep Hollow Ranch in Montauk, New York, to raise funds for the preservation of Montauk Point Lighthouse. For their 1991 tour, Jeff Jacobs, who had played in Joel's band, was brought in as the new keyboardist and Mark Rivera returned. But during the fall leg of this tour, Elliott decided to leave the group after a concert at The Ritz in NYC on November 14, 1991, and embark on a career as a wood sculptor. Larry Aberman was then recruited as a temporary replacement until Mark Schulman arrived in 1992 as drummer for the next three years. Scott Gilman (guitar, sax, flute) joined the touring band in 1992 and Thom Gimbel took over from Gilman and Rivera in late 1992 after they departed. When Gimbel went to Aerosmith in 1993, Gilman returned to handle the guitar/sax/flute duties until Gimbel came back permanently in the spring of 1995. Gramm returns, 1992 During the Los Angeles riots, inside the confines of the Sunset Marquis Hotel in West Hollywood, where Mick Jones had gone to meet with Lou Gramm, they both ended up sequestered by a city curfew. They decided to use their time together resurrecting their partnership. "I flew to Los Angeles, during the riots," says Gramm. "We got flown to John Wayne Airport instead of LAX because they were shooting at the planes. Mick and I were holed up in the Sunset Marquis in L.A., with armed security guards walking around on the roof. It was a little weird, to say the least." Gramm ended up rejoining Foreigner, bringing along his Shadow King bandmate bassist Bruce Turgon to replace bassist Wills (who'd left after the band's 1991 tour after a falling out with Jones) and co-produced the band's second greatest hits album, The Very Best ... and Beyond (September 1992), which included three new songs. 1994–2003 In October 1994 Foreigner released what was supposed to be a comeback album, Mr. Moonlight, in Japan. Featuring new drummer Mark Schulman and augmented by a fifth member, keyboardist Jeff Jacobs, this album was not released in the U.S. until February 1995 and fared even worse than Unusual Heat. It only peaked at No. 136 on the Billboard 200, although the ballad "Until the End of Time" was a minor hit, reaching No. 42 on the Billboard Hot 100. In January 1995 Ron Wikso (who had played in The Storm with former Journey members Gregg Rolie and Ross Valory) took over percussion duties from Schulman, and Brian Tichy succeeded Wikso in 1998 before Schulman would return in 2000. In 1997 Gramm underwent surgery to remove a brain tumor. The medications he was prescribed caused considerable weight gain and weakened his singing voice. By 1998, the band was back on the road, but Gramm was visibly struggling and it would take him several years to get back to the point where he felt comfortable on stage. In the summer of 1999, Foreigner went on tour as the opening act for Journey and the following summer, Jeff Jacobs had to leave the road for a short time during the band's 2000 summer tour while his wife was giving birth to their child. Keyboardist John Purdell (who had been co-producer of the new tracks on their 1992 album The Very Best of ... and Beyond) stepped in to sub for Jacobs until he was able to return. Vocalist Scott Garrett of the tribute band "Cold as ice" stepped in for Gramm on lead vocals. In 2001 the Warner Music Group selected Foreigner and 4 to be among the first group of albums from their catalog to be remastered, enhanced and released in the new DVD Audio format. In 2002 the 25th Anniversary Year brought affirmation of the enduring respect for Foreigner recordings with Rhino Entertainment reissuing the 1977 to 1981 multi-platinum albums in special enhanced formats. Foreigner, Double Vision, Head Games and 4 received the attention of Rhino's staff with new photos, liner notes and bonus tracks of previously unreleased material. New greatest hits albums were also produced in the U.S. and in Europe. The U.S. version reached No. 80 on the Billboard 200 Album chart. For the group's 25th Anniversary Tour in 2002, they were joined by former Heart and Montrose beat keeper Denny Carmassi. In late October/early November, then December, of 2002, Foreigner played in Belgium and Germany at the annual Night of the Proms festival. It was the last time that Lou Gramm and Mick Jones would play together until June 2013. Gramm would leave the group in early 2003. Jones stated that he and Gramm split because they weren't communicating: "I think we really tried hard to save it, but it got to the point when we both realized that to go on would be detrimental for both of us." New lead vocalist Kelly Hansen, March 2005 Jones, the founder and only remaining original member of Foreigner, decided to take some time off before looking to form a new lineup in 2004. On July 25, 2004, in Santa Barbara, California, at Fess Parker's DoubleTree Resort, Jones appeared at a benefit show for muscular dystrophy dubbed "Mick Jones & Friends" that included: Jeff Jacobs, Thom Gimbel, former Dokken bass player Jeff Pilson, future Black Country Communion drummer Jason Bonham (son of Led Zeppelin drummer John Bonham and leader of Bonham) and Bonham singer Chas West. West was front man for that show only. Inspired by the event and further encouraged by Jason Bonham, Jones continued the search for a new frontman. He would eventually find former Hurricane singer Kelly Hansen, who had sent the band an audition tape and was invited aboard in March 2005, making his debut with the group on March 11 at Boulder Station near Las Vegas. During their 2005 spring tour, Chas West appeared briefly with the band as a special guest, playing rhythm guitar. Their 2005 BMG album, Extended Versions, featured the new line-up playing all their classic hits live in concert in one of the most "studio like, clean sounding" live album recordings produced. Can't Slow Down, Jones' health issues, and Acoustique (2007–2012) Foreigner joined Def Leppard along with Styx on tour in 2007. They also toured extensively in their own right in 2007—the thirtieth anniversary of the release of their debut. In late 2007, keyboardist Jeff Jacobs left Foreigner after 16 years and was replaced, first by Paul Mirkovich then by Michael Bluestein (in 2008). And in 2008, Bonham also parted ways with Foreigner. Bryan Head was then brought in to fill the drum chair. But his tenure was short and he also departed to be replaced by the returning Tichy. The band released a greatest hits anthology on July 15, 2008, titled No End in Sight: The Very Best of Foreigner. The anthology included all of their greatest hits plus some new live recordings and a new studio track, "Too Late", which was their first new song release since the 1994 album Mr. Moonlight and the first recorded output of the new lineup. "Too Late" was released as a single on June 17, 2008. Foreigner released a new album on September 29, 2009, titled Can't Slow Down. It was one of several recent classic rock releases (AC/DC, the Eagles, Journey and Kiss being four others) to be released exclusively through the Walmart stores chain in the US, while in Europe the album was released by earMUSIC (a label part of the Edel group), charting top 20 in Germany (16) and Top 30 in Switzerland. Can't Slow Down debuted at No. 29 on the Billboard 200. The first two singles from the album, "When It Comes to Love" and "In Pieces" both reached the Top 20 on Billboard's Adult Contemporary chart. In 2010 it was awarded a gold certification from the Independent Music Companies Association, which indicated sales of at least 100,000 copies throughout Europe. In early 2010, Foreigner teamed up with Styx and Kansas for the United in Rock Tour. On May 4, 2010, it was announced that Brian Tichy's replacement as drummer would be Jason Sutter. Jason Sutter's time with the band was short as he left by 2011. Mark Schulman then returned to Foreigner for his third go-round as drummer. On February 20, 2011, the band played for the first time in Bangalore, India along with sitar player Niladri Kumar. In June 2011 Foreigner (again along with Styx) co-headlined with Journey on their UK tour. After this, they joined up with Journey and Night Ranger on a triple bill summer/fall tour of the US. For some dates of this tour, Brian Tichy filled in for Foreigner's drummer Mark Schulman when he was not available. From August 19 to September 10, 2011, Night Ranger guitarist Joel Hoekstra did double duty playing for NR as well as subbing for Jones, who had taken ill. Right after this, guitarist Bruce Watson (ex-Rod Stewart) was brought in as Jones' stand-in for the tour's remaining dates and continued to tour with the group when they hit the road again in February 2012 after Jones underwent aortoiliac bypass surgery in Miami. On October 4, 2011, Foreigner released Acoustique, which presented their best and most famous songs, along with some newer tracks, recorded in stripped-down acoustic mode. In May 2012 after being diagnosed with colorectal cancer, Bluestein was forced to take a leave of absence from the band. His stand in on keyboards was Ollie Marland. Bluestein was able to return to the group in August 2012 and Tichy once again rejoined in the interim until his schedule with Whitesnake called him away. In September 2012, the man Tichy replaced in Whitesnake, Chris Frazier, became Foreigner's new percussionist. On August 31, 2012, after over a year away, Jones returned to the concert stage at Atlanta's Chastain Park. Guitarist Watson, in the meantime, stayed on until Jones was able to return to full health. At this very same show, keyboardist Derek Hilland (ex-Iron Butterfly, Whitesnake and Rick Springfield) came on board to sub for Bluestein for the group's late summer/fall tour dates and again during the winter/spring of 2013 until Bluestein was able to return. 2013–present On January 9, 2013, the band's original drummer, Dennis Elliott, joined Foreigner on stage at the Hard Rock Cafe in Hollywood, Florida, to play on "Hot Blooded". In addition to touring small clubs and venues, the band frequently is engaged for private parties and conventions, including playing at SeaWorld in Orlando for an IBM Rational Conference (June 6, 2012), at the Gaylord convention center in Washington, D.C., for the Teradata Partners 2012 conference (October 25, 2012) and at SAP's Field Kickoff Meeting in Las Vegas (January 23, 2013). On June 13, 2013, at the 44th Annual Songwriters Hall of Fame Award Ceremony, Jones and Gramm were officially inducted to the Songwriters Hall of Fame. Billy Joel was on hand to induct Jones and Gramm, singing snippets of Foreigner's hits in his introduction speech. Jones said he was proud as the honor makes his work "legit". The duo then took stage one more time and, along with Thom Gimbel and the house band, performed "Juke Box Hero" and "I Want to Know What Love Is" with Anthony Morgan's Inspirational Choir of Harlem—a performance that brought the entire audience to its feet. In 2014 Foreigner teamed up with Styx and former Eagles guitarist Don Felder for the Soundtrack of Summer Tour. Original bassist Ed Gagliardi died on May 11, 2014, aged 62, after an eight-year battle with cancer. Although discussions of an original member reunion had been proposed, the original band had not performed together since 1979. On June 18, 2014, Foreigner teamed up with the Brockton High School concert choir at the Leader Bank Pavilion in Boston, MA. They performed one of their greatest hits: I Want To Know What Love Is. On January 12, 2015, in Sarasota, Florida, Foreigner were joined on stage by original drummer Dennis Elliott and former bassist Rick Wills to play "Hot Blooded". In Hartford, Connecticut, on June 24, 2015, Foreigner began a summer tour as the opening act for Kid Rock. Foreigner appeared on the "Today Show" on February 11, 2016, along with the choir from Our Lady of Mercy Academy to promote their Acoustic Tour and the release of their new album, In Concert: Unplugged. On Saturday September 24, 2016, Foreigner performed before an estimated 20,000+ people at the 100th anniversary of the Durham Fair in Durham, Connecticut. The encore song "I Want to Know What Love Is" utilized the local Coginchaug High School concert choir for backup—their performance having been rehearsed with the band via Skype during the previous months. In a 2016 interview, Jones talked about a possible 40th-anniversary reunion tour, featuring the Head Games-era lineup: "It's quite possible. We've actually been talking about it. I'm not at a point where I can say it's definitely gonna happen, but we're all working on trying to make it happen. It's kind of exciting. And hopefully it'll be feasible and possible to pull it off next year (2017). Lou (Gramm) and I have communicated and we've kept up a sort of loose communication as I have actually also with Ian McDonald, Al Greenwood, Dennis Elliott and Rick Wills. We're at the early stages, but we're trying to put something together to commemorate (it's scary when I say it) 40 years." On November 25, 2016, in celebration of their 40th anniversary, Foreigner released a limited-edition 10-inch vinyl EP, The Flame Still Burns, on Rhino Records for Record Store Day's Black Friday event. The EP's track listing contained the title song (which had previously appeared on Foreigner's Acoustique album and had earlier been featured in the 1998 film Still Crazy) plus live unplugged versions of "Feels Like The First Time", "Long, Long Way From Home" and "Juke Box Hero". On July 20, 2017, at Jones Beach Theater in New York, the current Foreigner lineup were joined for their encore by Lou Gramm, Ian McDonald and Al Greenwood to help celebrate the band's 40th anniversary and Greenwood and McDonald came back the following year to take the stage with the group for their Jones Beach show on June 22, 2018. Dennis Elliott likewise joined his old mates for two songs at Foreigner's show on August 2, 2017, at MidFlorida Credit Union Amphitheatre in Tampa, Florida. Another reunion was announced for a pair of shows to take place on October 6–7, 2017, at the Soaring Eagle Casino & Resort in Mount Pleasant, Michigan, where the group was set to be joined again by Lou Gramm, Dennis Elliott, Al Greenwood, Ian McDonald and Rick Wills. The concerts were filmed for future release, appearing on PBS stations in the U.S. on June 8, 2018. In a July 2018 interview with OC Weekly, bassist Jeff Pilson said that Foreigner has no plans to release a new studio album, but will continue to release singles periodically. On November 9, 2018, all surviving original members of Foreigner came on stage to play alongside the current line-up for a show at Microsoft Theater in Los Angeles, beginning a series of "Foreigner Then and Now" concerts set to run through the end of the year. In October 2019, the group was slated once again to be joined by the surviving original players for a handful of shows as the Double Vision: Then And Now tour. However, on October 2, it was announced that Lou Gramm would not be taking part in these dates due to illness. Foreigner announced a 2020 summer tour with support from Kansas and Europe called "Juke Box Heroes" in reference to the song of the same name. On May 19, 2020, Foreigner announced the band's Juke Box Heroes 2020 Tour was canceled, due to the COVID-19 pandemic. On March 18, 2021, Pilson announced that Thom Gimbel would be departing from the band. Pilson would later confirm on March 20, 2021, that Foreigner are working on new music: "[But] we are working on some music. So I think that what's gonna happen is whatever other things we release in the next couple of years, there will be some new songs added to it. So that's what I see kind of happening. 'Cause we're working on a few that are not that far away. So I would say expect a package deal to have a couple of new songs on it." Jones has been absent from the band's 2021 tour, leaving no members from the original or classic line up. Thus, none of the band's current line up played on the original versions of any songs. It was falsely reported Jones joined the band at their show in New Brunswick, NJ on October 29, 2021 for Hot Blooded; rather, it was former bassist Wills. Band members Current Mick Jones – lead and rhythm guitars, keyboards, backing and lead vocals Jeff Pilson – bass, keyboards, backing vocals Kelly Hansen – lead vocals, percussion Michael Bluestein – keyboards, backing vocals Bruce Watson – rhythm and lead guitars, backing vocals Chris Frazier – drums, percussion Luis Maldonado – rhythm guitar, bass, backing vocals Former Lou Gramm – lead vocals, percussion Dennis Elliott – drums, percussion, occasional backing vocals Ian McDonald – rhythm and lead guitars, keyboards, saxophone, flute, backing vocals Al Greenwood – keyboards, synthesizers Ed Gagliardi – bass, backing vocals Rick Wills – bass, backing vocals Johnny Edwards – lead vocals, rhythm and lead guitars Jeff Jacobs – keyboards, backing vocals Thom Gimbel – rhythm guitar, keyboards, backing vocals, saxophone, flute Mark Schulman – drums, backing vocals Bruce Turgon – bass, backing vocals Scott Garrett – lead vocals Ron Wikso – drums Brian Tichy – drums Denny Carmassi – drums Jason Bonham – drums Chas West – lead vocals Paul Mirkovich – keyboards Jason Sutter – drums Discography Studio albums Foreigner (1977) Double Vision (1978) Head Games (1979) 4 (1981) Agent Provocateur (1984) Inside Information (1987) Unusual Heat (1991) Mr. Moonlight (1994) Can't Slow Down (2009) See also List of best-selling music artists List of number-one hits (United States) List of number-one albums (United States) List of best-selling albums in the United States List of artists who reached number one in the United States List of artists who reached number one on the U.S. Mainstream Rock chart References External links Lou Gramm's official website 1976 establishments in New York (state) American pop rock music groups Atlantic Records artists British hard rock musical groups British pop rock music groups Hard rock musical groups from New York (state) Musical groups established in 1976 Musical groups from London Musical groups from New York City

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Who was Bert Bell?

Who was Bert Bell?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

he wanted to become an owner of a team based in Philadelphia.

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

C_7cf7e57134b248b5b05141757b92e75d_0

Did he become the owner of the team in Philadelphia?

Did Bert Bell become the owner of the team in Philadelphia?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

C_7cf7e57134b248b5b05141757b92e75d_0

Did they win any games?

Did Bert Bell's team win any games?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

In 1934, the Eagles finished with a 4-7 record,

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

C_7cf7e57134b248b5b05141757b92e75d_0

Did he move to any other teams?

Did Bert Bell move to any teams other than the Eagles?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

In December, an application for a franchise in Los Angeles was obstructed by Bell

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

C_7cf7e57134b248b5b05141757b92e75d_0

Did he do anything else interesting?

Did Bert Bell do anything else interesting other than obstructing the application for a franchise in Los Angeles?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born.

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

C_7cf7e57134b248b5b05141757b92e75d_0

Did he win any more games?

Did Bert Bell win any more games after the Eagle's 1937 season?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

In the Eagles' first profitable season, 1938, they posted a 5-6 record.

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

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How many kids he had?

How many kids did Bert Bell have?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

his second child, John "Upton",

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

C_7cf7e57134b248b5b05141757b92e75d_0

Did he go into the military?

Did Bert Bell go into the military?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

CANNOTANSWER

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

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What else happen interesting in this article?

What else happend to Bert Bell other than his second child ?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360).

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

C_7cf7e57134b248b5b05141757b92e75d_0

What else happen with the Eagles?

What else happened with the Eagles team other than their first profitable season?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

Austerity measures forced him to supplant Wray as head coach of the Eagles,

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

C_7cf7e57134b248b5b05141757b92e75d_0

Did he lose any games?

Did Bert Bell lose any games?

Bert Bell

By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4-7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently, $1,499,017), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, $79,360). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1-11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5-6 record. The Eagles finished 1-9-1 in 1939 and 1-10 in 1940. CANNOTANSWER

Bell led the Eagles to a 1-11 finish, their worst record ever. In

De Benneville "Bert" Bell (February 25, 1895 – October 11, 1959) was the National Football League (NFL) commissioner from 1946 until his death in 1959. As commissioner, he introduced competitive parity into the NFL to improve the league's commercial viability and promote its popularity, and he helped make the NFL the most financially sound sports enterprise and preeminent sports attraction in the United States (US). He was posthumously inducted into the charter class of the Pro Football Hall of Fame. Bell played football at the University of Pennsylvania, where as quarterback, he led his team to an appearance in the 1917 Rose Bowl. After being drafted into the US Army during World War I, he returned to complete his collegiate career at Penn and went on to become an assistant football coach with the Quakers in the 1920s. During the Great Depression, he was an assistant coach for the Temple Owls and a co-founder and co-owner of the Philadelphia Eagles. With the Eagles, Bell led the way in cooperating with the other NFL owners to establish the National Football League Draft in order to afford the weakest teams the first opportunity to sign the best available players. He subsequently became sole proprietor of the Eagles, but the franchise suffered financially. Eventually, he sold the team and bought a share in the Pittsburgh Steelers. During World War II, Bell argued against the league suspending operations until the war's conclusion. After the war, he was elected NFL commissioner and sold his ownership in the Steelers. As commissioner, he implemented a proactive anti-gambling policy, negotiated a merger with the All-America Football Conference (AAFC), and unilaterally crafted the entire league schedule with an emphasis on enhancing the dramatic effect of late-season matches. During the Golden Age of Television, he tailored the game's rules to strengthen its appeal to mass media and enforced a policy of blacking out local broadcasts of home contests to safeguard ticket receipts. Amid criticism from franchise owners and under pressure from Congress, he unilaterally recognized the NFLPA and facilitated in the development of the first pension plan for the players. He survived to oversee the "Greatest Game Ever Played" and to envision what the league would become in the future. Early life (1895–1932) Bell was born de Blipblop Bell, on February 25, 1895, in Philadelphia to John C. Bell and Fleurette de Benneville Myers. His father was an attorney who served a term as the Pennsylvania Attorney General. His older brother, John C., Jr., was born in 1892. Bert's parents were very wealthy, and his mother's lineage predated the American Revolutionary War. His father, a Quaker of the University of Pennsylvania (class of 1884) during the early days of American football, accompanied him to his first football game when Bell was six years old. Thereafter, Bell regularly engaged in football games with childhood friends. In 1904, Bell matriculated at the Episcopal Academy, the Delancey School from 1909 to 1911 and then the Haverford School until 1914. About this time, his father was installed as athletics director at Penn and helped form the National Collegiate Athletic Association (NCAA). At Haverford, Bell captained the school's football, basketball, and baseball teams, and "was awarded The Yale Cup [for being] 'The pupil who has done the most to promote athletics in the school.'" Although he excelled at baseball, his devotion was to football. His father, who was named a trustee at Penn in 1911, said of Bell's plans for college, "Bert will go to Penn or he will go to hell." University of Pennsylvania (1914–1919) Bell entered Penn in the fall of 1914 as an English major and joined Phi Kappa Sigma. In a rare occurrence for a sophomore, he became the starting quarterback for Penn's coach George H. Brooke. On the team, he also was as a defender, punter, and punt returner. After the team's 3–0 start, Bell temporarily shared possession of his quarterbacking duties until he subsequently reclaimed them later in the season, as Penn finished with a record of 3–5–2. Prior to Penn's 1916 season, his mother died while he was en route to her bedside. Nevertheless, he started the first game for the Quakers under new coach Bob Folwell, but mixed results left him platooned for the rest of the season. Penn finished with a record of 7–2–1. However, the Quakers secured an invitation to the 1917 Rose Bowl against the Oregon Ducks. Although the best offensive gain for Penn during their 20–14 loss to Oregon was a 20-yard run by Bell, he was replaced late in the game at quarterback after throwing an interception. In the 1917 season, Bell led Penn to a 9–2 record. Afterwards, he registered with a Mobile Hospital Unit of the US Army for World War I and was deployed to France in May 1918. As a result of his unit participating in hazardous duty, it received a congratulatory letter for bravery from General John J. Pershing, and Bell was promoted to first sergeant. After the war, Bell returned to the United States in March 1919. He returned to Penn as captain of the team in the fall and again performed erratically. The Quakers finished 1919 with a 6–2–1 record. Academically, his aversion to attending classes forced him to withdraw from Penn without a degree in early 1920. His collegiate days ended with his having been a borderline All-American, but this period of his life had proven that he "possessed the qualities of a leader." Early career (1920–1932) Bell assembled the Stanley Professionals in Chicago in 1920, but he disbanded it prior to playing any games because of negative publicity received by Chicago due to the Black Sox Scandal. He joined John Heisman's staff at Penn as an assistant coach in 1920, and Bell would remain there for several years. At Penn, he was well regarded as a football coach, and after its 1924 season, he drew offers for, but declined, head-coaching assignments at other universities. At least as early as 1926, his avocation was socializing and frequenting Saratoga Race Course, where he counted as friends Tim Mara, Art Rooney, and George Preston Marshall. In 1928, Bell tendered his resignation at Penn in protest over the emphasis of in-season scrimmages during practices by Lud Wray, a fellow assistant coach. Bell's resignation was accommodated prior to the start of the 1929 season. Bell was then an employee of the Ritz-Carlton in Philadelphia. At one point, he tried his hand as a stock broker and lost $50,000 (presently$, ) during the Wall Street Crash of 1929. His father bailed him out of his deprivation, and he returned to working at the Ritz. From 1930 until 1932, he was a backfield coach for the Temple Owls football team. In 1932, Marshall tried to coax Bell into buying the rights to an NFL franchise, but Bell disparaged the league and ridiculed the idea. When Pop Warner was hired to coach Temple for the 1933 season, Warner chose to hire his own assistants and Bell was let go. NFL career Philadelphia Eagles (1933–1940) By early 1933, Bell's opinion on the NFL had changed, and he wanted to become an owner of a team based in Philadelphia. After being advised by the NFL that a prerequisite to a franchise being rendered in Philadelphia was that the Pennsylvania Blue Laws would have to be mollified, he was the force majeure in lobbying to getting the laws deprecated. He borrowed funds from Frances Upton, partnered with Wray, and he procured the rights to a franchise in Philadelphia which he christened as the Philadelphia Eagles. After the inaugural 1933 Philadelphia Eagles season, Bell married Upton at St. Madeleine Sophie Roman Catholic Church in Philadelphia. Days later, his suggestion to bestow the winner of the NFL championship game with the Ed Thorp Memorial Trophy was affirmed. In 1934, the Eagles finished with a 4–7 record, The Eagles' inability to seriously challenge other teams made it difficult to sell tickets, and his failure to sign a talented college prospect led him to adduce that the only way to bring stability to the league was to institute a draft to ensure the weakest teams had an advantage in signing the preeminent players. In 1935, his proposal for a draft was accepted, and in February 1936, the first draft kicked off, at which he acted as Master of Ceremonies. Later that month, his first child, Bert Jr., was born. In the Eagles' first three years, the partners exhausted $85,000 (presently$, ), and at a public auction, Bell became sole owner of the Eagles with a bid of $4,500 (presently, ). Austerity measures forced him to supplant Wray as head coach of the Eagles, wherein Bell led the Eagles to a 1–11 finish, their worst record ever. In December, an application for a franchise in Los Angeles was obstructed by Bell and Pittsburgh Steelers owner Rooney as they deemed it too far of a distance to travel for games. During the Eagles' 2-8-1 1937 season, his second child, John "Upton", was born. In the Eagles' first profitable season, 1938, they posted a 5–6 record. The Eagles finished 1–9–1 in 1939 and 1–10 in 1940. Pittsburgh Steelers (1940–1945) In December 1940, Bell conciliated the sale of Rooney's Steelers to Alexis Thompson, and then Rooney acquired half of Bell's interest in the Eagles. In a series of events known as the Pennsylvania Polka, Rooney and Bell exchanged their entire Eagles roster and their territorial rights in Philadelphia to Thompson for his entire Steelers roster and his rights in Pittsburgh. Ostensibly, Rooney had provided assistance to Bell by rewarding him with a 20% commission on the sale of the Steelers. Bell became the Steelers head coach and Rooney became the general manager. During the training camp of Pittsburgh's inaugural season with the nickname Steelers, Bell was buoyant with optimism about the team's prospect, but he became crestfallen after Rooney denigrated the squad and flippantly remarked that they looked like the "[s]ame old Steelers" (SOS). After losing the first two games of the 1941 season, Rooney compelled Bell into resigning as head coach. Bell's coaching career ended with a 10–46–2 record, his 0.179 winning percentage is second-lowest in NFL history to only Phil Handler's 0.105 for coaches with at least five seasons. And at 36 games under .500 he held the record for futility until John McKay passed him in 1983 and Marion Campbell passed him in 1988. His first daughter and last child, Jane Upton, was born several months after the season's conclusion. By 1943, 40% of the NFL rosters had been drafted into the United States Armed Forces for World War II. The resulting difficulty in fielding a full-strength squad led some owners to recommend the league should shut down until the war ended. Bell auspiciously argued against this as he feared they might not be able to resume operations easily after the war, and since Major League Baseball was continuing unabated, then they should also. Throughout Bell's affiliation with the Steelers, he suffered monetarily and Rooney bought an increasing allotment of the franchise from him. Compounding Bell's problems, Arch Ward organized the All-America Football Conference (AAFC) in 1944 to displace the NFL's sovereignty in professional football. Ward's AAFC promptly began luring players to join the league, which resulted in salaries being driven up drastically. In Bill Dudley's contract proceedings with the Steelers, he attributed Bell's anxiety during the negotiations to the rivalry from the AAFC. Furthermore, by the end of 1945, the Steelers were in their most economically perilous situation in its history. NFL commissioner (1946–1959) Election, Hapes-Filchock, and the NFL schedule (1946–1948) Elmer Layden was appointed the first NFL commissioner in 1941, but Ward appeared as dictating his hiring. Layden tendered his resignation for personal reasons January 1946. Bell, who was not well respected in Pittsburgh, was elected to replace him. He received a three-year contract at $20,000 ($) per year, and transacted a sale of his stake in the Steelers to Rooney, albeit for a price Bell did not construe was full-value. He was then immediately placed at the center of a controversy wherein the owners denied Dan Reeves permission to relocate the Cleveland Rams to Los Angeles. Bell moderated a settlement, and, as a result, the Los Angeles Rams were formed. As a precondition to the Rams leasing the Los Angeles Coliseum, they signed Kenny Washington, which marked the beginning of the end of racial segregation on the field, but also caused "'all hell to break loose'" amidst the owners. The drawing up of a regular-season schedule had been a perennial source of contention among the NFL owners since the league's inception. The crux of the problem was the scheduling of games meant weighing the interest of owners who, early in the season, wanted their franchises to confront teams that drew the largest crowds, versus owners who wanted to play the weaker franchises to pad their team's win-loss record. The resultant impasse coerced the owners, in 1946, to confer upon Bell the sole discretion in developing the league's schedule. He utilized this responsibility to, early in the season, pit the weaker teams against other weak teams, and the strong teams against other strong teams. His goal was to augment game attendances by keeping the difference in team standings to a minimum as deep into the season as possible. On the eve of the 1946 championship game, Bell was notified that Merle Hapes and Frank Filchock of the New York Giants had been implicated in a bribing scandal. Filchock was sanctioned by Bell to play in the game but Hapes was suspended. At the next NFL owners' meeting, Bell was worried the repercussions from this event would lead to his firing. However, he was pleasantly surprised to learn that his contract would be elevated to five years at $30,000 per year. Reinvigorated with renewed support, he persuaded the owners to allow him to put sudden-death overtime into the playoffs. Subsequently, he wrote an anti-gambling resolution into the league constitution, which empowered him with the ability to permanently ban any NFL associated personnel for betting on a game or for withholding information on a game being possibly fixed. Furthermore, to obstruct gamblers from getting inside information, he secreted the names of officials he would assign to games, and he directed each team to promulgate a precursory injury report which listed anyone who might not participate in a game. Eventually, he lobbied to get every state in the US to criminalize the fixing of sporting events and put employees on the payroll of the NFL to investigate potential betting scams. AAFC-NFL merger (1948–1950) The NFL's struggle against the AAFC generated stress on wages, attendance, marketing, and by 1949, it had prevented the NFL for showing a profit for three consecutive years. Bell and representatives from both leagues met to attempt a merger, but their efforts were fruitless. In an unrelated matter, he apprised the owners that attendance records had shown televising games locally had a negative impact on the sale of home tickets. Nevertheless, he actualized the NFL's first television contract—the 1949 championship game. Simultaneously, he dealt with a lawsuit from Bill Radovich, who had been blacklisted for leaving the Lions and gaining employment with the AAFC. Bell and the owners were advised by John C. Jr. that this lawsuit was potentially not winnable, and the ramifications from the outcome of the case weighed heavily on Bell. One of the primary impediments in an AAFC-NFL merger was the supposed violation of "territorial rights" claimed by Marshall. Eventually, Bell gathered enough support to effectuate a compromise with the AAFC. In late 1949, the leagues merged, and Bell would stay on as commissioner with his contract extended from five to ten years as three AAFC teams (the Cleveland Browns, San Francisco 49ers, and Baltimore Colts) were subsumed. Seeking to capitalize on the publicity of the residual rivalry, he utilized "exquisite dramatic" and business sense and allocated the 1950 opening game to a contest between the 1949 champion Eagles versus the perennial AAFC champion Browns. Feeling financially secure after the merger, he purchased his first home for himself and his family in Narberth, Pennsylvania. Marketing of the NFL (1950–1956) In 1950, Bell originated a blackout rule into the NFL which forbid all teams to televise their home games within a 75-mile radius of their stadium – except for the Rams. Consequently, the United States Department of Justice (DOJ) opened an investigation into a violation of the Sherman Antitrust Act. Ensuingly, the Rams attendance for 1950 dropped off by 50%, and this signaled a potential financial disaster. In 1951, he licensed the DuMont Television Network to air the championship games for the next five years, and he stipulated that teams were free to develop their own television contracts independently. However, preceding the 1951 season, he reimposed the blackout rule on all teams in the league. The DOJ filed suit over this and Bell publicly retorted, "You can't give fans a game for free on TV and also expect them to go to the ballpark"; nevertheless, the suit was ordered to trial for January 1952. After the 1951 season ended, he gained unilateral control over the setting of a television strategy for the NFL. He negotiated a deal with DuMont, which granted it the rights to nationally broadcast one regular-season game every week, and he directed that the income from this contract was to be shared equally between all the teams. In the DOJ's case, the judge ruled that the blackout policy was legal, but both Bell, and the franchises collectively, were enjoined from negotiating a TV contract; Bell was ecstatic. Later that year, Bell forced one of the owners of the Cleveland Browns to sell all of his shares in the team after Bell determined the owner had bet on Browns' football games. Although he hated to fly, at some indeterminate point, he visited the training camps of every team and lectured on the danger gamblers posed to the league. Bell authorized a Pro Bowl to be held at the end of each season in order to showcase the talents of the best players. But in the early 1950s, on the field activities sometimes denigrated to borderline assault and battery with teams' star players being viciously targeted by opposing players. He answered charges the league was too savage by saying, "'I have never seen a maliciously dirty football player in my life and I don't believe there are any.'" Nevertheless, he ordered broadcasts to follow a strict rule of conduct whereby TV announcers would not be permitted to criticize the game, and neither fights, nor injuries, could be televised by virtue in his belief that announcers were "'salesman for professional football [and] we do not want kids believing that engaging in fights is the way to play football.'" Bell was criticized for censoring TV broadcasts, a charge he dismissed as not pertinent because he believed he was not impeding the print media but only advertising a product. After CBS and NBC gained the rights to broadcast the games in 1956, he advised the franchises to avoid criticizing the games or the officials, and forewarned that TV would give "'us our greatest opportunity to sell the NFL and everyone must present to the public the greatest games ... combined with the finest sportsmanship.'" This relationship with television was the beginning of the NFL's rise to becoming America's most popular sport. Compromise with the NFLPA (1956–1957) In Radovich v. National Football League, the Supreme Court ruled in Radovich's favor and declared the NFL was subject to antitrust laws, and the implication was that the legality of the draft and reserve clause were dubious. Bell pressed a case in the media that the NFL should be exempted from antitrust regulations and proffered the league was a sport and not a business. He invited an investigation from Congress with respect to the court's ruling. The House Judiciary committee, chaired by Emanuel Celler—who believed the draft was illegal and should be abolished, convened in July 1957 to discuss the ramifications of the Radovich decision. Red Grange and Bell testified at the committee's solicitation and argued the draft was essential to the sport's success. Representatives of the NFLPA contradicted these statements and said the draft and the reserve clause were anti-labor, and it seemed as if Congress was going to accept their position. Faced with Congressional opposition, Bell formally recognized the NFLPA and declared he would negotiate with its representatives. However, Bell was speaking only for himself and without the auspices of the owners. At the next owners' meeting, Rooney admonished they either had to recognize the NFLPA or remove Bell as commissioner. In order to do this, they had to agree in a vote that required a super-majority. Bell unsuccessfully attempted to persuade the owners to permit the NFLPA to act as a bargaining agent for the players. However, he did reach a compromise with the owners to get them to acquiesce to some of the NFLPA's requests for salary standards and health benefits. Final days (1958–1959) For the 1958 season, the duration of timeouts was extended from 60 to 90 seconds and Bell mandated officials call a few TV timeouts during each game — a change which triggered criticism from sportswriters. The 1958 championship game became the first NFL championship game decided in overtime, and it was considered to be the greatest football game ever played. The game further increased football's marketability to television advertising, and the drama associated with overtime was the catalyst. Years later, after witnessing Bell openly crying after the game, Raymond Berry attributed it to Bell's realization of the impact the game would have on the prevalence of the sport. The death of Mara in February unsettled Bell and he experienced a heart attack later that month. He converted to Catholicism that summer because of the lifelong urging of his wife, Mara's death, and his enduring friendship with Rooney, a practicing Catholic. Bell was advised by his doctor to avoid going to football games, to which he quipped, "I'd rather die watching football than in my bed with my boots off." Bell and his children attended an Eagles game on October 11 at Franklin Field against the Steelers (both his old teams). The Eagles held complimentary box seats for him and guests to watch the game, but he preferred to buy his own tickets and sit with the other fans. Sitting towards the end of the field near the end zone during the fourth quarter of the game, he suffered a fatal heart attack and died later that day at the nearby university hospital. League Treasurer Austin Gunsel was named interim NFL commissioner for the rest of the season. Afterwards, he was remembered as "a man of buoyant joviality, with a rough and ready wit, laughter and genuine humility and honesty, clearly innocent of pretense and [pretension]." His funeral was held at Narberth's St. Margaret Roman Catholic Church and Monsignor Cornelius P. Brennan delivered the eulogy, as close friends and admirers attended the mass. Dominic Olejniczak and all the extant owners of the NFL franchises were pallbearers. Bell was interred at Calvary Cemetery in West Conshohocken, Pennsylvania, northwest of Philadelphia. Legacy and honors Bell was inducted into the Professional Football Hall of Fame, the Penn Athletics Hall of Fame, the Philadelphia Sports Hall of Fame, and Haverford's Athletic Hall of Fame. The Maxwell Football Club, which he founded in 1937, has presented the best NFL player of the year with the Bert Bell Award since 1959. The Bert Bell Benefit Bowl was exhibited in his honor from 1960 through 1969. Though his career spanned the desegregation and reintegration of the NFL, as an owner, he never had an African American on any of his teams, but Bert Jr. believed the mere discussion of whether his father was prejudiced was absurd. Bell's handling of the merger with the AAFC was acclaimed as a personal triumph. Although he did not have the wherewithal to prevent the wholesale betting on games, he was proactive in ensuring games were not tampered with by gamblers, and he created the foundation of the contemporary NFL anti-gambling policy. Bell was criticized as being too strict with his refusal to let sold-out games to be televised locally. Nevertheless, his balancing of television broadcasts against protecting game attendance made the NFL the "healthiest professional sport in America", and he was the "leading protagonist in pro football's evolution into America's major sport." He had understood that the league needed a cooperative television contract with revenue-sharing, but he failed to overcome the obstacles to achieve it. He was portrayed by sportswriters as ensuring the owners treated the players fairly, and his decision to recognize the NFLPA in the face of adversity from owners was a "master stroke" in thwarting Congressional intervention. After he initiated terms for a pension plan with the players in 1959, little progress was made with the NFLPA, however, the first players' pension plan-the Bert Bell National Football League Retirement Plan, was approved in 1962. Bell's implementation of the draft did not show immediate results, but it was "the single greatest contributor to the [league]'s prosperity" in its first eighty-four years. His original version of the draft was later ruled unconstitutional, but his anchoring of the success of the league to competitive balance has been "hailed by contemporaries and sports historians". Bell had often said, "[o]n any given Sunday, any team in the NFL can beat any other team." Head coaching record NFL Published works Bell, Bert, "The Money Game." Liberty Magazine, XIII (November 28, 1936), pp. 59–60. Bell, Bert, "Offensive Football." Popular Football, (Winter 1941), p. 111. Bell, Bert, "This is Commissioner Bell Speaking." Pro Football Illustrated, XII (1952), pp. 60–63. Bell, Bert; with Martin, Paul, "Do the Gamblers Make a Sucker Out of You?." Saturday Evening Post, CCXXI (November 6, 1948), p. 28. Bell, Bert; with Pollock, Ed, "Let's Throw Out the Extra Point." Sport, XV (October 1953), p. 24–25. Bell, Bert (1957). The Story of Professional Football in Summary. Bala Cynwyd, PA: National Football League. References Bibliography Primary materials Lyons, Robert S. (2010). On Any Given Sunday, A Life of Bert Bell. Philadelphia: Temple University Press. Secondary materials [https://web.archive.org/web/20130904205327/http://www.audiobookscorner.com/Title.aspx?titleId=10459&srch=vince+lombardi When Pride Still Mattered, A Life of Vince Lombardi], by David Maraniss, 1999, Organized Professional Team Sports: Part 1. United States House Committee on the Judiciary I, Subcommittee on Antitrust (1957). Organized Professional Team Sports: Part 3. United States House Committee on the Judiciary III, Subcommittee on Antitrust (1957). Algeo, Matthew (2006). Last Team Standing. Philadelphia: Da Capo Press. Berry, Robert C.; with Gould, William B. and Staudohar, Paul D. (1986). Labor Relations in Professional Sports. Dover, MA: Auburn House Pub. Co. Brown, Paul; with Clary, Jack (1979). PB, the Paul Brown Story. New York: Atheneum. Carroll, Bob; with Gershman, Michael, Neft, David, and Thorn, John (1999). Total Football:The Official Encyclopedia of the National Football League. New York: HarperCollins. Carroll, John M. (1999). Red Grange and the Rise of Modern Football. Urbana, IL: University of Illinois Press. Claassen, Harold (Spike) (1963). The History of Professional Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Coenen, Craig R. (2005). From Sandlots to the Super Bowl: The National Football League, 1920–1967. Knoxville, TN: The University of Tennessee Press. Daley, Arthur (1963). Pro Football's Hall of Fame. New York: Grosset and Dunlap. Danzig, Allison (1956). The History of American Football: Its Great Teams, Players, and Coaches. Englewood Cliffs, NJ: Prentice-Hall, Inc. Davis, Jeff (2005). Papa Bear, The Life and Legacy of George Halas. New York: McGraw-Hill DeVito, Carlo (2006). Wellington: the Maras, the Giants, and the City of New York. Chicago: Triumph Books. Didinger, Ray; with Lyons, Robert S. (2005). The Eagles Encyclopedia. Philadelphia: Temple University Press. Gifford, Frank; with Richmond, Peter (2008). The Glory Game: How the 1958 NFL Championship Changed Football Forever. New York: Harper Collins. Herskowitz, Mickey (1990). The Golden Age of Pro Football. Dallas: Taylor Publishing Company. Hession, Joseph (1987). The Rams: Five Decades of Football. San Francisco: Foghorn Press. Hibner, John Charles (1993). The Rose Bowl, 1902–1929. Jefferson, NC: McFarland & Company, Inc. Publishers. King, Joe (1958). Inside Pro Football. Englewood Cliffs, NJ: Prentice-Hall, Inc. Layden, Elmer; with Snyder, Ed (1969). It Was a Different Game: The Elmer Layden Story. Englewood Cliffs, NJ:Prentice-Hall, Inc. LaBlanc, Michael L.; with Ruby, Mary K. (1994). Professional Sports Team Histories: Football. Detroit: Gale Research Inc. Levy, Alan H. (2003). Tackling Jim Crow, Racial Segregation in Professional Football. Jefferson, NC: McFarland and Co., Inc. Littlewood, Thomas B. (1990). Arch: A Promoter, not a Poet: The Story of Arch Ward. Ames, IA: Iowa State University Press. MacCambridge, Michael (2005). America's Game. New York: Anchor Books. MacCambridge, Michael (2009). ESPN College Football Encyclopedia: The Complete History of the Game. New York: ESPN Books, Inc. Marquis, Albert Nelson (1934). Who's Who in America: A Biographical Dictionary of Notable Living Men and Women of the United States, Vol., 18, 1934–1935, Two Years. Chicago: The A. N. Marquis Company. Maule, Tex (1964). The Game; The Official Picture History of the National Football League. New York: Random House Oriard, Michael (2007). Brand NFL: Making and Selling America's Favorite Sport. Chapel Hill: The University of North Carolina Press. Patton, Phil (1984). Razzle-Dazzle: The Curious Marriage of Television and Professional Football. Garden City, NY: The Dial Press. Paul, William Henry (1974). The Gray-Flannel Pigskin: Movers and Shakers of Pro Football. Philadelphia: Lippincott. Pervin, Lawrence A. (2009). Football's New York Giants. Jefferson, NC: McFarland and Company, Inc. Peterson, Robert W. (1997). Pigskin: The Early Years of Pro Football. New York: Oxford University Press. Piascik, Andy (2007). The Best Show in Football: The 1946–1955 Cleveland Browns. Lanham, MD: Taylor Trade Publishing. Powers, Ron (1984). Supertube: The Rise of Television Sports. New York: Coward-McCann. Rader, Benjamin G. (1984). In its Own Image: How Television Has Transformed Sports. New York: The Free Press. Rathet, Mike; with Smith, Don R. (1984). Their Deeds and Dogged Faith. New York: Balsam Press. Ratterman, George; with Deindorfer, Robert G. (1962). Confessions of a Gypsy Quarterback; Inside the Wacky World of Pro Football. New York: Coward-McCann, Inc. Riger, Robert; with Maule, Tex (1960). The Pros. New York: Simon and Schuster. Rooney, Dan; with Halaas, David F. and Masich, Andrew E. (2007). My 75 Years with the Pittsburgh Steelers and the NFL. Cambridge, MA: Da Capo Press. Rothe, Anna; with Prodrick, Elizabeth (1951). "Bert Bell" in Current Biography: Who's News and Why 1950. New York: The H.W. Wilson Company. Ruck, Rob; with Patterson, Maggie Jones and Weber, Michael P. (2010). Rooney: A Sporting Life. Lincoln, Neb.: University of Nebraska Press. Smith, Myron J. Jr. (1993). Professional Football: The Official Pro Football Hall of Fame Bibliography. Westport, CT: Greenwood Press. Staudohar, Paul D. (1986). The Sports Industry and Collective Bargaining. Ithaca, NY: ILR Press. Sullivan, George (1968). Pro Football's All Time Greats. New York: G. P. Putnam's Sons. Summerall, Pat; with Levin, Michael (2010). Giants: What I Learned about Life from Vince Lombardi and Tom Landry. Hoboken, NJ: John Wiley & Sons, Inc. Umphlett, Wiley Lee (1992). Creating the Big Game: John W. Heisman and the Invention of American Football. Westport, CT: Greenwood Press. Westcott, Rich (2001). A Century of Philadelphia Sports. Philadelphia: Temple University Press. Whittingham, Richard (2002). What a Game They Played: An Inside Look at the Golden Era of Pro Football. Lincoln, Neb.: University of Nebraska Press, Inc. Williams, Pete (2006). The Draft: A Year Inside the NFL's Search for Talent. New York: St. Martin's Press. Willis, Chris (2010). The Man Who Built the National Football League: Joe F. Carr. Lanham, MD: Scarecrow Press, Inc. Yost, Mark (2006). Tailgating, Sacks and Salary Caps. Chicago: Kaplan Publishing. Further reading Lower Merion Historical Society (2000). The first 300 : the amazing and rich history of Lower Merion. Ardmore, Pa. : The Society External links 1895 births 1959 deaths American football quarterbacks Anti-gambling advocates National Football League commissioners Philadelphia Eagles owners Philadelphia Eagles head coaches Pittsburgh Steelers owners Pittsburgh Steelers coaches Steagles players and personnel Playoff Bowl Penn Quakers football players Penn Quakers football coaches Temple Owls football coaches Pro Football Hall of Fame inductees Haverford School alumni United States Army personnel of World War I United States Army non-commissioned officers Sportspeople from Philadelphia Players of American football from Philadelphia Military personnel from Philadelphia

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What is Ballmer's position at Google?

What is Steve Ballmer's position at Google?

Steve Ballmer

In 2005, Microsoft sued Google for hiring one of its previous vice presidents, Kai-Fu Lee, claiming it was in violation of his one-year non-compete clause in his contract. Mark Lucovsky, who left for Google in 2004, alleged in a sworn statement to a Washington state court that Ballmer became enraged upon hearing that Lucovsky was about to leave Microsoft for Google, picked up his chair, and threw it across his office, and that, referring to former Google CEO Eric Schmidt (who previously worked for competitors Sun and Novell), Ballmer vowed to "kill Google." Lucovsky reports: At some point in the conversation Mr. Ballmer said: "Just tell me it's not Google." I told him it was Google. At that point, Mr. Ballmer picked up a chair and threw it across the room hitting a table in his office. Mr. Ballmer then said: "Fucking Eric Schmidt is a fucking pussy. I'm going to fucking bury that guy, I have done it before, and I will do it again. I'm going to fucking kill Google." Ballmer then resumed attempting to persuade Lucovsky to stay at Microsoft. Ballmer has described Lucovsky's account of the incident as a "gross exaggeration of what actually took place". During the 2011 Web 2.0 Summit in San Francisco, he said: "You don't need to be a computer scientist to use a Windows Phone and you do to use an Android phone ... It is hard for me to be excited about the Android phones." In 2013, Ballmer said that Google was a "monopoly" that should be pressured from market competition authorities. CANNOTANSWER

Ballmer said that Google was a "monopoly" that should be pressured from market competition authorities.

Steven Anthony Ballmer (; March 24, 1956) is an American businessman and investor who served as the chief executive officer of Microsoft from 2000 to 2014. He is the current owner of the Los Angeles Clippers of the National Basketball Association (NBA). As of February 2022, Bloomberg Billionaires Index estimates his personal wealth at around $111 billion, making him the ninth-richest person on Earth. Ballmer was hired by Bill Gates at Microsoft in 1980, and subsequently left the MBA program at Stanford University. He eventually became president in 1998, and replaced Gates as CEO on January 13, 2000. On February 4, 2014, Ballmer retired as CEO and was replaced by Satya Nadella; Ballmer remained on Microsoft's Board of Directors until August 19, 2014, when he left to prepare for teaching a new class. His tenure and legacy as Microsoft CEO has received mixed reception, with the company tripling sales and doubling profits, but losing its market dominance and missing out on 21st-century technology trends such as the ascendance of smartphones in the form of iPhone and Android. Early life and education Ballmer was born in Detroit, Michigan; he is the son of Beatrice Dworkin and Frederic Henry Ballmer (Fritz Hans Ballmer), a manager at the Ford Motor Company. His father was a Swiss immigrant who predicted that his son, at eight years old, would attend Harvard. His mother was Belarusian Jewish. Through his mother, Ballmer is a second cousin of actress and comedian Gilda Radner. Ballmer grew up in the affluent community of Farmington Hills, Michigan. Ballmer also lived in Brussels from 1964 to 1967, where he attended the International School of Brussels. In 1973, he attended college prep and engineering classes at Lawrence Technological University. He graduated as valedictorian from Detroit Country Day School, a private college preparatory school in Beverly Hills, Michigan, with a score of 800 on the mathematical section of the SAT and was a National Merit Scholar. He formerly sat on the school's board of directors. In 1977, he graduated magna cum laude from Harvard University with a Bachelor of Arts in applied mathematics and economics. At college, Ballmer was a manager for the Harvard Crimson football team and a member of the Fox Club, worked on The Harvard Crimson newspaper as well as the Harvard Advocate, and lived down the hall from fellow sophomore Bill Gates. He scored highly in the William Lowell Putnam Mathematical Competition, an exam sponsored by the Mathematical Association of America, scoring higher than Bill Gates. He then worked as an assistant product manager at Procter & Gamble for two years, where he shared an office with Jeff Immelt, who later became CEO of General Electric. After briefly trying to write screenplays in Hollywood, in 1980 Ballmer dropped out of the Stanford Graduate School of Business to join Microsoft. History with Microsoft Ballmer joined Microsoft on June 11, 1980, and became Microsoft's 30th employee, the first business manager hired by Gates. Ballmer was offered a salary of $50,000 as well as 5-10% of the company. When Microsoft was incorporated in 1981, Ballmer owned 8% of the company. In 2003, Ballmer sold 39.3 million Microsoft shares equating to approximately $955 million, thereby reducing his ownership to 4%. The same year, he replaced Microsoft's employee stock options program. In the 20 years following his hire, Ballmer headed several Microsoft divisions, including operations, operating systems development, and sales and support. From February 1992 onwards, he was Executive Vice President, Sales, and Support. Ballmer led Microsoft's development of the .NET Framework. Ballmer was then promoted to President of Microsoft, a title that he held from July 1998 to February 2001, making him the de facto number two in the company to the chairman and CEO, Bill Gates. Chief Executive Officer (2000–2014) On January 13, 2000, Ballmer was officially named the chief executive officer. As CEO, Ballmer handled company finances and daily operations, but Gates remained chairman of the board and still retained control of the "technological vision" as chief software architect. Gates relinquished day-to-day activities when he stepped down as chief software architect in 2006, while staying on as chairman, and that gave Ballmer the autonomy needed to make major management changes at Microsoft. When Ballmer took over as CEO, the company was fighting an antitrust lawsuit brought on by the U.S. government and 20 states, plus class-action lawsuits and complaints from rival companies. While it was said that Gates would have continued fighting the suit, Ballmer made it his priority to settle these saying: "Being the object of a lawsuit, effectively, or a complaint from your government is a very awkward, uncomfortable position to be in. It just has all downside. People assume if the government brought a complaint that there's really a problem, and your ability to say we're a good, proper, moral place is tough. It's actually tough, even though you feel that way about yourselves." Upon becoming CEO, Ballmer required detailed business justification in order to approve of new products, rather than allowing hundreds of products that sounded potentially interesting or trendy. In 2005, he recruited B. Kevin Turner from Walmart, who was the President and CEO of Sam's Club, to become Microsoft's Chief Operating Officer. Turner was hired at Microsoft to lead the company's sales, marketing and services group and to instill more process and discipline in the company's operations and salesforce. Since Bill Gates' retirement, Ballmer oversaw a "dramatic shift away from the company's PC-first heritage", replacing most major division heads in order to break down the "talent-hoarding fiefdoms", and Businessweek said that the company "arguably now has the best product lineup in its history". Ballmer was instrumental in driving Microsoft's connected computing strategy, with acquisitions such as Skype. Under Ballmer's tenure as CEO, Microsoft's share price stagnated. The lackluster stock performance occurred despite Microsoft's financial success at that time. The company's annual revenue surged from $25 billion to $70 billion, while its net income increased 215% to $23 billion, and its gross profit of 75 cents on every dollar in sales is double that of Google or IBM. In terms of leading the company's total annual profit growth, Ballmer's tenure at Microsoft (16.4%) surpassed the performances of other well-known CEOs such as General Electric's Jack Welch (11.2%) and IBM's Louis V. Gerstner Jr. (2%). These gains came from the existing Windows and Office franchises, with Ballmer maintaining their profitability, fending off threats from competitors such as Linux and other open-source operating systems and Google Docs. Ballmer also built half a dozen new businesses, such as the data centers division and the Xbox entertainment and devices division ($8.9 billion), (which has prevented the Sony PlayStation and other gaming consoles from undermining Windows), and oversaw the acquisition of Skype. Ballmer also constructed the company's $20 billion Enterprise Business, consisting of new products and services such as Exchange, Windows Server, SQL Server, SharePoint, System Center, and Dynamics CRM, each of which initially faced an uphill battle for acceptance but have emerged as leading or dominant in each category. This diversified product mix helped to offset the company's reliance on PCs and mobile computing devices as the company entered the Post-PC era; in reporting quarterly results during April 2013, while Windows Phone 8 and Windows 8 had not managed to increase their market share above single digits, the company increased its profit 19% over the previous quarter in 2012, as the Microsoft Business Division (including Office 365) and Server and Tools division (cloud services) are each larger than the Windows division. Ballmer attracted criticism for failing to capitalize on several new consumer technologies, forcing Microsoft to play catch-up in the areas of tablet computing, smartphones and music players with mixed results. Under Ballmer's watch, "In many cases, Microsoft latched onto technologies like smartphones, touchscreens, 'smart' cars and wristwatches that read sports scores aloud long before Apple or Google did. But it repeatedly killed promising projects if they threatened its cash cows [Windows and Office]." Ballmer was even named one of the worst CEOs of 2013 by the BBC. As a result of these many criticisms, in May 2012, hedge fund manager David Einhorn called on Ballmer to step down as CEO of Microsoft. "His continued presence is the biggest overhang on Microsoft's stock," Einhorn said in reference to Ballmer. In a May 2012 column in Forbes magazine, Adam Hartung described Ballmer as "the worst CEO of a large publicly traded American company", saying he had "steered Microsoft out of some of the fastest growing and most lucrative tech markets (mobile music, headsets and tablets)". In 2009, and for the first time since Bill Gates resigned from day-to-day management at Microsoft, Ballmer delivered the opening keynote at CES. As part of his plans to expand on hardware, on June 19, 2012, Ballmer revealed Microsoft's first ever computer device, a tablet called Microsoft Surface at an event held in Hollywood, Los Angeles. He followed this by announcing the company's purchase of Nokia's mobile phone division in September 2013, his last major acquisition for Microsoft as CEO. On August 23, 2013, Microsoft announced that Ballmer would retire within the next 12 months. A special committee that included Bill Gates would decide on the next CEO. There was a list of potential successors to Ballmer as Microsoft CEO, but all had departed the company: Jim Allchin, Brad Silverberg, Paul Maritz, Nathan Myhrvold, Greg Maffei, Pete Higgins, Jeff Raikes, J. Allard, Robbie Bach, Bill Veghte, Ray Ozzie, Bob Muglia and Steven Sinofsky. B. Kevin Turner, Microsoft's Chief Operating Officer (COO), was considered by some to be a de facto number two to Ballmer, with Turner having a strong grasp of business and operations but lacking technological vision. On February 4, 2014, Satya Nadella succeeded Ballmer as CEO. Public image Although as a child he was so shy that he would hyperventilate before Hebrew school, Ballmer is known for his energetic and exuberant personality, which is meant to motivate employees and partners, shouting so much that he needed surgery on his vocal cords. Ballmer's flamboyant stage appearances at Microsoft events are widely circulated on the Internet as viral videos. One of his earliest known viral videos was a parody video, produced for Microsoft employees in 1986, promoting Windows 1.0 in the style of a Crazy Eddie commercial. Ballmer and Brian Valentine repeated this in a spoof promotion of Windows XP later on. A widely circulated video was his entrance on stage at Microsoft's 25th anniversary event in September 2000, where Ballmer jumped across the stage and shouted "I love this company!" Another well-known viral video was one captured at a Windows 2000 developers' conference, featuring a perspiring Ballmer chanting the word "developers". Relationship with Bill Gates Ballmer was Gates' best man at his wedding to Melinda French, and the two men described their relationship as a marriage. They were so close for years that another Microsoft executive described it as a mind meld. Combative debates—a part of Microsoft's corporate culture—that many observers believed were personal arguments occurred within the relationship; while Gates was glad in 2000 that Ballmer was willing to become CEO so he could focus on technology, the Wall Street Journal reported that there was tension surrounding the transition of authority. Things became so bitter that, on one occasion, Gates stormed out of a meeting after a shouting match in which Ballmer jumped to the defense of several colleagues, according to an individual present at the time. After the exchange, Ballmer seemed "remorseful", the person said. Once Gates leaves, "I'm not going to need him for anything. That's the principle", Ballmer said. "Use him, yes, need him, no". In October 2014, a few months after Ballmer left his post at Microsoft, a Vanity Fair profile stated that Ballmer and Gates no longer talk to each other due to animosity over Ballmer's resignation. In a November 2016 interview, Ballmer said he and Gates have "drifted apart" ever since, saying that they always had a "brotherly relationship" beforehand. He said that his push into the hardware business, specifically smartphones, which Gates did not support, contributed to their relationship breakdown. Retirement After saying in 2008 that he intended to remain CEO for another decade, Ballmer announced his retirement in 2013, after losing billions of dollars in acquisitions and on the Surface tablet. Microsoft's stock price rebounded on the news. Ballmer says that he regretted the lack of focus on Windows Mobile in the early 2000s, leaving Microsoft a distant third in the current smartphone market. Moreover, he attributed the success of the expensively-priced iPhones to carrier subsidies. He went on to say, He called the acquisition of the mobile phone division of Nokia as his "toughest decision" during his tenure, as it was overseeing the changing profile of Microsoft as it was expanding on hardware. Ballmer hosted his last company meeting in September 2013, and stepped down from the company's board of directors, in August 2014. On December 24, 2014, the Seattle Times reported that the IRS sued Ballmer, Craig Mundie, Jeff Raikes, Jim Allchin, Orlando Ayala and David Guenther in an effort to compel them to testify in Microsoft's corporate tax audit. The IRS has been looking into how Microsoft and other companies deal with transfer pricing. Other positions Ballmer served as director of Accenture Ltd. and a general partner of Accenture SCA from 2001 to 2006. On competing companies and software Apple In 2007, Ballmer said "There's no chance that the [Apple] iPhone is going to get any significant market share. No chance." Speaking at a conference in NYC in 2009, Ballmer criticized Apple's pricing, saying, "Now I think the tide has turned back the other direction (against Apple). The economy is helpful. Paying an extra $500 for a computer in this environment—same piece of hardware—paying $500 more to get a logo on it? I think that's a more challenging proposition for the average person than it used to be." In 2015, Ballmer called Microsoft's decision to invest in Apple to save it from bankruptcy in 1997 as the "craziest thing we ever did." By 2015, Apple was the world's most valuable company. In 2016, Ballmer did an interview with Bloomberg where Ballmer added context to his iPhone statement, saying "People like to point to this quote...but the reason I said that was the price of $600-$700 was too high," he says he did not realize the business model innovation that Apple was going to deploy, using the carriers to subsidize the phones by building the cost into the customer's monthly bill. Free and open source software In July 2000, Ballmer called the free software Linux kernel "communism" and further claimed that it infringed with Microsoft's intellectual property. In June 2001 he called Linux a "cancer that attaches itself in an intellectual property sense to everything it touches". Ballmer used the notion of "viral" licensing terms to express his concern over the fact that the GNU General Public License (GPL) employed by such software requires that all derivative software be under the GPL or a compatible license. In April 2003 he even interrupted his skiing holiday in Switzerland to personally plead with the mayor of Munich not to switch to Linux. But he did not succeed with this and Munich switched to LiMux, despite his offering a 35% discount at his lobbying visit. In March 2016, Ballmer changed his stance on Linux, saying that he supports his successor Satya Nadella's open source commitments. He maintained that his comments in 2001 were right at the time but that times have changed. Google In 2005, Microsoft sued Google for hiring one of its previous vice presidents, Kai-Fu Lee, claiming it was in violation of his one-year non-compete clause in his contract. Mark Lucovsky, who left for Google in 2004, alleged in a sworn statement to a Washington state court that Ballmer became enraged upon hearing that Lucovsky was about to leave Microsoft for Google, picked up his chair, and threw it across his office, and that, referring to then Google Executive Chairman Eric Schmidt (who had previously worked for competitors Sun and Novell), Ballmer vowed to "kill Google." Lucovsky reports: Ballmer then resumed attempting to persuade Lucovsky to stay at Microsoft. Ballmer has described Lucovsky's account of the incident as a "gross exaggeration of what actually took place". During the 2011 Web 2.0 Summit in San Francisco, he said: "You don't need to be a computer scientist to use a Windows Phone and you do to use an Android phone ... It is hard for me to be excited about the Android phones." In 2013, Ballmer said that Google was a "monopoly" that should be pressured from market competition authorities. Sports On March 6, 2008, Seattle mayor Greg Nickels announced that a local ownership group involving Ballmer made a "game-changing" commitment to invest $150 million in cash toward a proposed $300 million renovation of KeyArena and were ready to purchase the Seattle SuperSonics from the Professional Basketball Club LLC in order to keep the team in Seattle. However, this initiative failed, and the SuperSonics relocated to Oklahoma City, Oklahoma, where they now play as the Oklahoma City Thunder. In June 2012, Ballmer was an investor in Chris R. Hansen's proposal to build a new arena in the SoDo neighborhood of Seattle and bring the SuperSonics back to Seattle. On January 9, 2013, Ballmer and Hansen led a group of investors in an attempt to purchase the Sacramento Kings from the Maloof family and relocate them to Seattle for an estimated $650 million. However, this attempt also fell through. Following the Donald Sterling scandal in May 2014, Ballmer was the highest bidder in an attempt to purchase the Los Angeles Clippers for a reported price of $2 billion, which is the second highest bid for a sports franchise in North American sports history (after the $2.15 billion sale of the Los Angeles Dodgers in 2012). After a California court confirmed the authority of Shelly Sterling to sell the team, it was officially announced on August 12, 2014, that Ballmer would become the Los Angeles Clippers owner. On September 25, 2014, Ballmer said he would bar the team from using Apple products such as iPads, and replace them with Microsoft products. It has been reported that he had previously also barred his family from using iPhones. In March 2020, Ballmer agreed to buy The Forum in Inglewood, California. The purchase would allow him to build the Intuit Dome in the nearby area since plans for a new Clippers' arena were opposed by the former owners of The Forum. In a survey conducted by The Athletic in December 2020, Ballmer was voted the best owner in basketball. Wealth Ballmer was the second person after Roberto Goizueta to become a billionaire in U.S. dollars based on stock options received as an employee of a corporation in which he was neither a founder nor a relative of a founder. As of November 2021, Bloomberg Billionaires Index estimates his personal wealth at $117 billion, ranking him as the 8th richest person in the world. Philanthropy On November 12, 2014, it was announced that Ballmer and his wife Connie donated $50 million to the University of Oregon. Connie Ballmer is a University of Oregon alumna and previously served on the institution's board of trustees. The funds will go towards the university's $2 billion fundraising effort, and will focus towards scholarships, public health research and advocacy, and external branding/communications. On November 13, 2014, it was announced that Ballmer would provide a gift, estimated at $60 million, to Harvard University's computer science department. The gift would allow the department to hire new faculty, and hopefully increase the national stature of the program. Ballmer previously donated $10 million to the same department in 1994, in a joint-gift with Bill Gates. Ballmer serves on the World Chairman's Council of the Jewish National Fund, which means he has donated US$1 million or more to the JNF. USAFacts Ballmer launched USAFacts.org in 2017, a non-profit organization whose goal is to allow people to understand US government revenue, spending and societal impact. He is reported to have contributed $10 million to fund teams of researchers who populated the website's database with official data. Personal life In 1990, Ballmer married Connie Snyder; they have three sons. The Ballmers live in Hunts Point, Washington. References External links Corporate biography CS50 Lecture by Steve Ballmer at Harvard University, November 2014 South China Morning Post audio interview Steve Ballmer Playlist Appearance on WMBR's Dinnertime Sampler radio show February 23, 2005 Forbes Profile 1956 births 20th-century American businesspeople 21st-century American businesspeople American billionaires American chief operating officers American computer businesspeople American Internet celebrities American people of Belarusian-Jewish descent American people of Swiss descent American technology chief executives Businesspeople from Detroit Businesspeople from Seattle Businesspeople in software Chevaliers of the Légion d'honneur Detroit Country Day School alumni Directors of Microsoft The Harvard Crimson people Harvard Advocate alumni Jewish American sportspeople Living people Los Angeles Clippers owners Microsoft employees People from Farmington Hills, Michigan People from Hunts Point, Washington Stanford University students 21st-century American Jews

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Does Ballmer work at Google?

Does Steve Ballmer work at Google?

Steve Ballmer

In 2005, Microsoft sued Google for hiring one of its previous vice presidents, Kai-Fu Lee, claiming it was in violation of his one-year non-compete clause in his contract. Mark Lucovsky, who left for Google in 2004, alleged in a sworn statement to a Washington state court that Ballmer became enraged upon hearing that Lucovsky was about to leave Microsoft for Google, picked up his chair, and threw it across his office, and that, referring to former Google CEO Eric Schmidt (who previously worked for competitors Sun and Novell), Ballmer vowed to "kill Google." Lucovsky reports: At some point in the conversation Mr. Ballmer said: "Just tell me it's not Google." I told him it was Google. At that point, Mr. Ballmer picked up a chair and threw it across the room hitting a table in his office. Mr. Ballmer then said: "Fucking Eric Schmidt is a fucking pussy. I'm going to fucking bury that guy, I have done it before, and I will do it again. I'm going to fucking kill Google." Ballmer then resumed attempting to persuade Lucovsky to stay at Microsoft. Ballmer has described Lucovsky's account of the incident as a "gross exaggeration of what actually took place". During the 2011 Web 2.0 Summit in San Francisco, he said: "You don't need to be a computer scientist to use a Windows Phone and you do to use an Android phone ... It is hard for me to be excited about the Android phones." In 2013, Ballmer said that Google was a "monopoly" that should be pressured from market competition authorities. CANNOTANSWER

Microsoft

Steven Anthony Ballmer (; March 24, 1956) is an American businessman and investor who served as the chief executive officer of Microsoft from 2000 to 2014. He is the current owner of the Los Angeles Clippers of the National Basketball Association (NBA). As of February 2022, Bloomberg Billionaires Index estimates his personal wealth at around $111 billion, making him the ninth-richest person on Earth. Ballmer was hired by Bill Gates at Microsoft in 1980, and subsequently left the MBA program at Stanford University. He eventually became president in 1998, and replaced Gates as CEO on January 13, 2000. On February 4, 2014, Ballmer retired as CEO and was replaced by Satya Nadella; Ballmer remained on Microsoft's Board of Directors until August 19, 2014, when he left to prepare for teaching a new class. His tenure and legacy as Microsoft CEO has received mixed reception, with the company tripling sales and doubling profits, but losing its market dominance and missing out on 21st-century technology trends such as the ascendance of smartphones in the form of iPhone and Android. Early life and education Ballmer was born in Detroit, Michigan; he is the son of Beatrice Dworkin and Frederic Henry Ballmer (Fritz Hans Ballmer), a manager at the Ford Motor Company. His father was a Swiss immigrant who predicted that his son, at eight years old, would attend Harvard. His mother was Belarusian Jewish. Through his mother, Ballmer is a second cousin of actress and comedian Gilda Radner. Ballmer grew up in the affluent community of Farmington Hills, Michigan. Ballmer also lived in Brussels from 1964 to 1967, where he attended the International School of Brussels. In 1973, he attended college prep and engineering classes at Lawrence Technological University. He graduated as valedictorian from Detroit Country Day School, a private college preparatory school in Beverly Hills, Michigan, with a score of 800 on the mathematical section of the SAT and was a National Merit Scholar. He formerly sat on the school's board of directors. In 1977, he graduated magna cum laude from Harvard University with a Bachelor of Arts in applied mathematics and economics. At college, Ballmer was a manager for the Harvard Crimson football team and a member of the Fox Club, worked on The Harvard Crimson newspaper as well as the Harvard Advocate, and lived down the hall from fellow sophomore Bill Gates. He scored highly in the William Lowell Putnam Mathematical Competition, an exam sponsored by the Mathematical Association of America, scoring higher than Bill Gates. He then worked as an assistant product manager at Procter & Gamble for two years, where he shared an office with Jeff Immelt, who later became CEO of General Electric. After briefly trying to write screenplays in Hollywood, in 1980 Ballmer dropped out of the Stanford Graduate School of Business to join Microsoft. History with Microsoft Ballmer joined Microsoft on June 11, 1980, and became Microsoft's 30th employee, the first business manager hired by Gates. Ballmer was offered a salary of $50,000 as well as 5-10% of the company. When Microsoft was incorporated in 1981, Ballmer owned 8% of the company. In 2003, Ballmer sold 39.3 million Microsoft shares equating to approximately $955 million, thereby reducing his ownership to 4%. The same year, he replaced Microsoft's employee stock options program. In the 20 years following his hire, Ballmer headed several Microsoft divisions, including operations, operating systems development, and sales and support. From February 1992 onwards, he was Executive Vice President, Sales, and Support. Ballmer led Microsoft's development of the .NET Framework. Ballmer was then promoted to President of Microsoft, a title that he held from July 1998 to February 2001, making him the de facto number two in the company to the chairman and CEO, Bill Gates. Chief Executive Officer (2000–2014) On January 13, 2000, Ballmer was officially named the chief executive officer. As CEO, Ballmer handled company finances and daily operations, but Gates remained chairman of the board and still retained control of the "technological vision" as chief software architect. Gates relinquished day-to-day activities when he stepped down as chief software architect in 2006, while staying on as chairman, and that gave Ballmer the autonomy needed to make major management changes at Microsoft. When Ballmer took over as CEO, the company was fighting an antitrust lawsuit brought on by the U.S. government and 20 states, plus class-action lawsuits and complaints from rival companies. While it was said that Gates would have continued fighting the suit, Ballmer made it his priority to settle these saying: "Being the object of a lawsuit, effectively, or a complaint from your government is a very awkward, uncomfortable position to be in. It just has all downside. People assume if the government brought a complaint that there's really a problem, and your ability to say we're a good, proper, moral place is tough. It's actually tough, even though you feel that way about yourselves." Upon becoming CEO, Ballmer required detailed business justification in order to approve of new products, rather than allowing hundreds of products that sounded potentially interesting or trendy. In 2005, he recruited B. Kevin Turner from Walmart, who was the President and CEO of Sam's Club, to become Microsoft's Chief Operating Officer. Turner was hired at Microsoft to lead the company's sales, marketing and services group and to instill more process and discipline in the company's operations and salesforce. Since Bill Gates' retirement, Ballmer oversaw a "dramatic shift away from the company's PC-first heritage", replacing most major division heads in order to break down the "talent-hoarding fiefdoms", and Businessweek said that the company "arguably now has the best product lineup in its history". Ballmer was instrumental in driving Microsoft's connected computing strategy, with acquisitions such as Skype. Under Ballmer's tenure as CEO, Microsoft's share price stagnated. The lackluster stock performance occurred despite Microsoft's financial success at that time. The company's annual revenue surged from $25 billion to $70 billion, while its net income increased 215% to $23 billion, and its gross profit of 75 cents on every dollar in sales is double that of Google or IBM. In terms of leading the company's total annual profit growth, Ballmer's tenure at Microsoft (16.4%) surpassed the performances of other well-known CEOs such as General Electric's Jack Welch (11.2%) and IBM's Louis V. Gerstner Jr. (2%). These gains came from the existing Windows and Office franchises, with Ballmer maintaining their profitability, fending off threats from competitors such as Linux and other open-source operating systems and Google Docs. Ballmer also built half a dozen new businesses, such as the data centers division and the Xbox entertainment and devices division ($8.9 billion), (which has prevented the Sony PlayStation and other gaming consoles from undermining Windows), and oversaw the acquisition of Skype. Ballmer also constructed the company's $20 billion Enterprise Business, consisting of new products and services such as Exchange, Windows Server, SQL Server, SharePoint, System Center, and Dynamics CRM, each of which initially faced an uphill battle for acceptance but have emerged as leading or dominant in each category. This diversified product mix helped to offset the company's reliance on PCs and mobile computing devices as the company entered the Post-PC era; in reporting quarterly results during April 2013, while Windows Phone 8 and Windows 8 had not managed to increase their market share above single digits, the company increased its profit 19% over the previous quarter in 2012, as the Microsoft Business Division (including Office 365) and Server and Tools division (cloud services) are each larger than the Windows division. Ballmer attracted criticism for failing to capitalize on several new consumer technologies, forcing Microsoft to play catch-up in the areas of tablet computing, smartphones and music players with mixed results. Under Ballmer's watch, "In many cases, Microsoft latched onto technologies like smartphones, touchscreens, 'smart' cars and wristwatches that read sports scores aloud long before Apple or Google did. But it repeatedly killed promising projects if they threatened its cash cows [Windows and Office]." Ballmer was even named one of the worst CEOs of 2013 by the BBC. As a result of these many criticisms, in May 2012, hedge fund manager David Einhorn called on Ballmer to step down as CEO of Microsoft. "His continued presence is the biggest overhang on Microsoft's stock," Einhorn said in reference to Ballmer. In a May 2012 column in Forbes magazine, Adam Hartung described Ballmer as "the worst CEO of a large publicly traded American company", saying he had "steered Microsoft out of some of the fastest growing and most lucrative tech markets (mobile music, headsets and tablets)". In 2009, and for the first time since Bill Gates resigned from day-to-day management at Microsoft, Ballmer delivered the opening keynote at CES. As part of his plans to expand on hardware, on June 19, 2012, Ballmer revealed Microsoft's first ever computer device, a tablet called Microsoft Surface at an event held in Hollywood, Los Angeles. He followed this by announcing the company's purchase of Nokia's mobile phone division in September 2013, his last major acquisition for Microsoft as CEO. On August 23, 2013, Microsoft announced that Ballmer would retire within the next 12 months. A special committee that included Bill Gates would decide on the next CEO. There was a list of potential successors to Ballmer as Microsoft CEO, but all had departed the company: Jim Allchin, Brad Silverberg, Paul Maritz, Nathan Myhrvold, Greg Maffei, Pete Higgins, Jeff Raikes, J. Allard, Robbie Bach, Bill Veghte, Ray Ozzie, Bob Muglia and Steven Sinofsky. B. Kevin Turner, Microsoft's Chief Operating Officer (COO), was considered by some to be a de facto number two to Ballmer, with Turner having a strong grasp of business and operations but lacking technological vision. On February 4, 2014, Satya Nadella succeeded Ballmer as CEO. Public image Although as a child he was so shy that he would hyperventilate before Hebrew school, Ballmer is known for his energetic and exuberant personality, which is meant to motivate employees and partners, shouting so much that he needed surgery on his vocal cords. Ballmer's flamboyant stage appearances at Microsoft events are widely circulated on the Internet as viral videos. One of his earliest known viral videos was a parody video, produced for Microsoft employees in 1986, promoting Windows 1.0 in the style of a Crazy Eddie commercial. Ballmer and Brian Valentine repeated this in a spoof promotion of Windows XP later on. A widely circulated video was his entrance on stage at Microsoft's 25th anniversary event in September 2000, where Ballmer jumped across the stage and shouted "I love this company!" Another well-known viral video was one captured at a Windows 2000 developers' conference, featuring a perspiring Ballmer chanting the word "developers". Relationship with Bill Gates Ballmer was Gates' best man at his wedding to Melinda French, and the two men described their relationship as a marriage. They were so close for years that another Microsoft executive described it as a mind meld. Combative debates—a part of Microsoft's corporate culture—that many observers believed were personal arguments occurred within the relationship; while Gates was glad in 2000 that Ballmer was willing to become CEO so he could focus on technology, the Wall Street Journal reported that there was tension surrounding the transition of authority. Things became so bitter that, on one occasion, Gates stormed out of a meeting after a shouting match in which Ballmer jumped to the defense of several colleagues, according to an individual present at the time. After the exchange, Ballmer seemed "remorseful", the person said. Once Gates leaves, "I'm not going to need him for anything. That's the principle", Ballmer said. "Use him, yes, need him, no". In October 2014, a few months after Ballmer left his post at Microsoft, a Vanity Fair profile stated that Ballmer and Gates no longer talk to each other due to animosity over Ballmer's resignation. In a November 2016 interview, Ballmer said he and Gates have "drifted apart" ever since, saying that they always had a "brotherly relationship" beforehand. He said that his push into the hardware business, specifically smartphones, which Gates did not support, contributed to their relationship breakdown. Retirement After saying in 2008 that he intended to remain CEO for another decade, Ballmer announced his retirement in 2013, after losing billions of dollars in acquisitions and on the Surface tablet. Microsoft's stock price rebounded on the news. Ballmer says that he regretted the lack of focus on Windows Mobile in the early 2000s, leaving Microsoft a distant third in the current smartphone market. Moreover, he attributed the success of the expensively-priced iPhones to carrier subsidies. He went on to say, He called the acquisition of the mobile phone division of Nokia as his "toughest decision" during his tenure, as it was overseeing the changing profile of Microsoft as it was expanding on hardware. Ballmer hosted his last company meeting in September 2013, and stepped down from the company's board of directors, in August 2014. On December 24, 2014, the Seattle Times reported that the IRS sued Ballmer, Craig Mundie, Jeff Raikes, Jim Allchin, Orlando Ayala and David Guenther in an effort to compel them to testify in Microsoft's corporate tax audit. The IRS has been looking into how Microsoft and other companies deal with transfer pricing. Other positions Ballmer served as director of Accenture Ltd. and a general partner of Accenture SCA from 2001 to 2006. On competing companies and software Apple In 2007, Ballmer said "There's no chance that the [Apple] iPhone is going to get any significant market share. No chance." Speaking at a conference in NYC in 2009, Ballmer criticized Apple's pricing, saying, "Now I think the tide has turned back the other direction (against Apple). The economy is helpful. Paying an extra $500 for a computer in this environment—same piece of hardware—paying $500 more to get a logo on it? I think that's a more challenging proposition for the average person than it used to be." In 2015, Ballmer called Microsoft's decision to invest in Apple to save it from bankruptcy in 1997 as the "craziest thing we ever did." By 2015, Apple was the world's most valuable company. In 2016, Ballmer did an interview with Bloomberg where Ballmer added context to his iPhone statement, saying "People like to point to this quote...but the reason I said that was the price of $600-$700 was too high," he says he did not realize the business model innovation that Apple was going to deploy, using the carriers to subsidize the phones by building the cost into the customer's monthly bill. Free and open source software In July 2000, Ballmer called the free software Linux kernel "communism" and further claimed that it infringed with Microsoft's intellectual property. In June 2001 he called Linux a "cancer that attaches itself in an intellectual property sense to everything it touches". Ballmer used the notion of "viral" licensing terms to express his concern over the fact that the GNU General Public License (GPL) employed by such software requires that all derivative software be under the GPL or a compatible license. In April 2003 he even interrupted his skiing holiday in Switzerland to personally plead with the mayor of Munich not to switch to Linux. But he did not succeed with this and Munich switched to LiMux, despite his offering a 35% discount at his lobbying visit. In March 2016, Ballmer changed his stance on Linux, saying that he supports his successor Satya Nadella's open source commitments. He maintained that his comments in 2001 were right at the time but that times have changed. Google In 2005, Microsoft sued Google for hiring one of its previous vice presidents, Kai-Fu Lee, claiming it was in violation of his one-year non-compete clause in his contract. Mark Lucovsky, who left for Google in 2004, alleged in a sworn statement to a Washington state court that Ballmer became enraged upon hearing that Lucovsky was about to leave Microsoft for Google, picked up his chair, and threw it across his office, and that, referring to then Google Executive Chairman Eric Schmidt (who had previously worked for competitors Sun and Novell), Ballmer vowed to "kill Google." Lucovsky reports: Ballmer then resumed attempting to persuade Lucovsky to stay at Microsoft. Ballmer has described Lucovsky's account of the incident as a "gross exaggeration of what actually took place". During the 2011 Web 2.0 Summit in San Francisco, he said: "You don't need to be a computer scientist to use a Windows Phone and you do to use an Android phone ... It is hard for me to be excited about the Android phones." In 2013, Ballmer said that Google was a "monopoly" that should be pressured from market competition authorities. Sports On March 6, 2008, Seattle mayor Greg Nickels announced that a local ownership group involving Ballmer made a "game-changing" commitment to invest $150 million in cash toward a proposed $300 million renovation of KeyArena and were ready to purchase the Seattle SuperSonics from the Professional Basketball Club LLC in order to keep the team in Seattle. However, this initiative failed, and the SuperSonics relocated to Oklahoma City, Oklahoma, where they now play as the Oklahoma City Thunder. In June 2012, Ballmer was an investor in Chris R. Hansen's proposal to build a new arena in the SoDo neighborhood of Seattle and bring the SuperSonics back to Seattle. On January 9, 2013, Ballmer and Hansen led a group of investors in an attempt to purchase the Sacramento Kings from the Maloof family and relocate them to Seattle for an estimated $650 million. However, this attempt also fell through. Following the Donald Sterling scandal in May 2014, Ballmer was the highest bidder in an attempt to purchase the Los Angeles Clippers for a reported price of $2 billion, which is the second highest bid for a sports franchise in North American sports history (after the $2.15 billion sale of the Los Angeles Dodgers in 2012). After a California court confirmed the authority of Shelly Sterling to sell the team, it was officially announced on August 12, 2014, that Ballmer would become the Los Angeles Clippers owner. On September 25, 2014, Ballmer said he would bar the team from using Apple products such as iPads, and replace them with Microsoft products. It has been reported that he had previously also barred his family from using iPhones. In March 2020, Ballmer agreed to buy The Forum in Inglewood, California. The purchase would allow him to build the Intuit Dome in the nearby area since plans for a new Clippers' arena were opposed by the former owners of The Forum. In a survey conducted by The Athletic in December 2020, Ballmer was voted the best owner in basketball. Wealth Ballmer was the second person after Roberto Goizueta to become a billionaire in U.S. dollars based on stock options received as an employee of a corporation in which he was neither a founder nor a relative of a founder. As of November 2021, Bloomberg Billionaires Index estimates his personal wealth at $117 billion, ranking him as the 8th richest person in the world. Philanthropy On November 12, 2014, it was announced that Ballmer and his wife Connie donated $50 million to the University of Oregon. Connie Ballmer is a University of Oregon alumna and previously served on the institution's board of trustees. The funds will go towards the university's $2 billion fundraising effort, and will focus towards scholarships, public health research and advocacy, and external branding/communications. On November 13, 2014, it was announced that Ballmer would provide a gift, estimated at $60 million, to Harvard University's computer science department. The gift would allow the department to hire new faculty, and hopefully increase the national stature of the program. Ballmer previously donated $10 million to the same department in 1994, in a joint-gift with Bill Gates. Ballmer serves on the World Chairman's Council of the Jewish National Fund, which means he has donated US$1 million or more to the JNF. USAFacts Ballmer launched USAFacts.org in 2017, a non-profit organization whose goal is to allow people to understand US government revenue, spending and societal impact. He is reported to have contributed $10 million to fund teams of researchers who populated the website's database with official data. Personal life In 1990, Ballmer married Connie Snyder; they have three sons. The Ballmers live in Hunts Point, Washington. References External links Corporate biography CS50 Lecture by Steve Ballmer at Harvard University, November 2014 South China Morning Post audio interview Steve Ballmer Playlist Appearance on WMBR's Dinnertime Sampler radio show February 23, 2005 Forbes Profile 1956 births 20th-century American businesspeople 21st-century American businesspeople American billionaires American chief operating officers American computer businesspeople American Internet celebrities American people of Belarusian-Jewish descent American people of Swiss descent American technology chief executives Businesspeople from Detroit Businesspeople from Seattle Businesspeople in software Chevaliers of the Légion d'honneur Detroit Country Day School alumni Directors of Microsoft The Harvard Crimson people Harvard Advocate alumni Jewish American sportspeople Living people Los Angeles Clippers owners Microsoft employees People from Farmington Hills, Michigan People from Hunts Point, Washington Stanford University students 21st-century American Jews

C_efc26e1de8bc412ba56fd539c31afce1_1

What is Ballmer's connection to Google?

What is Steve Ballmer's connection to Google?

Steve Ballmer

In 2005, Microsoft sued Google for hiring one of its previous vice presidents, Kai-Fu Lee, claiming it was in violation of his one-year non-compete clause in his contract. Mark Lucovsky, who left for Google in 2004, alleged in a sworn statement to a Washington state court that Ballmer became enraged upon hearing that Lucovsky was about to leave Microsoft for Google, picked up his chair, and threw it across his office, and that, referring to former Google CEO Eric Schmidt (who previously worked for competitors Sun and Novell), Ballmer vowed to "kill Google." Lucovsky reports: At some point in the conversation Mr. Ballmer said: "Just tell me it's not Google." I told him it was Google. At that point, Mr. Ballmer picked up a chair and threw it across the room hitting a table in his office. Mr. Ballmer then said: "Fucking Eric Schmidt is a fucking pussy. I'm going to fucking bury that guy, I have done it before, and I will do it again. I'm going to fucking kill Google." Ballmer then resumed attempting to persuade Lucovsky to stay at Microsoft. Ballmer has described Lucovsky's account of the incident as a "gross exaggeration of what actually took place". During the 2011 Web 2.0 Summit in San Francisco, he said: "You don't need to be a computer scientist to use a Windows Phone and you do to use an Android phone ... It is hard for me to be excited about the Android phones." In 2013, Ballmer said that Google was a "monopoly" that should be pressured from market competition authorities. CANNOTANSWER

Microsoft sued Google

Steven Anthony Ballmer (; March 24, 1956) is an American businessman and investor who served as the chief executive officer of Microsoft from 2000 to 2014. He is the current owner of the Los Angeles Clippers of the National Basketball Association (NBA). As of February 2022, Bloomberg Billionaires Index estimates his personal wealth at around $111 billion, making him the ninth-richest person on Earth. Ballmer was hired by Bill Gates at Microsoft in 1980, and subsequently left the MBA program at Stanford University. He eventually became president in 1998, and replaced Gates as CEO on January 13, 2000. On February 4, 2014, Ballmer retired as CEO and was replaced by Satya Nadella; Ballmer remained on Microsoft's Board of Directors until August 19, 2014, when he left to prepare for teaching a new class. His tenure and legacy as Microsoft CEO has received mixed reception, with the company tripling sales and doubling profits, but losing its market dominance and missing out on 21st-century technology trends such as the ascendance of smartphones in the form of iPhone and Android. Early life and education Ballmer was born in Detroit, Michigan; he is the son of Beatrice Dworkin and Frederic Henry Ballmer (Fritz Hans Ballmer), a manager at the Ford Motor Company. His father was a Swiss immigrant who predicted that his son, at eight years old, would attend Harvard. His mother was Belarusian Jewish. Through his mother, Ballmer is a second cousin of actress and comedian Gilda Radner. Ballmer grew up in the affluent community of Farmington Hills, Michigan. Ballmer also lived in Brussels from 1964 to 1967, where he attended the International School of Brussels. In 1973, he attended college prep and engineering classes at Lawrence Technological University. He graduated as valedictorian from Detroit Country Day School, a private college preparatory school in Beverly Hills, Michigan, with a score of 800 on the mathematical section of the SAT and was a National Merit Scholar. He formerly sat on the school's board of directors. In 1977, he graduated magna cum laude from Harvard University with a Bachelor of Arts in applied mathematics and economics. At college, Ballmer was a manager for the Harvard Crimson football team and a member of the Fox Club, worked on The Harvard Crimson newspaper as well as the Harvard Advocate, and lived down the hall from fellow sophomore Bill Gates. He scored highly in the William Lowell Putnam Mathematical Competition, an exam sponsored by the Mathematical Association of America, scoring higher than Bill Gates. He then worked as an assistant product manager at Procter & Gamble for two years, where he shared an office with Jeff Immelt, who later became CEO of General Electric. After briefly trying to write screenplays in Hollywood, in 1980 Ballmer dropped out of the Stanford Graduate School of Business to join Microsoft. History with Microsoft Ballmer joined Microsoft on June 11, 1980, and became Microsoft's 30th employee, the first business manager hired by Gates. Ballmer was offered a salary of $50,000 as well as 5-10% of the company. When Microsoft was incorporated in 1981, Ballmer owned 8% of the company. In 2003, Ballmer sold 39.3 million Microsoft shares equating to approximately $955 million, thereby reducing his ownership to 4%. The same year, he replaced Microsoft's employee stock options program. In the 20 years following his hire, Ballmer headed several Microsoft divisions, including operations, operating systems development, and sales and support. From February 1992 onwards, he was Executive Vice President, Sales, and Support. Ballmer led Microsoft's development of the .NET Framework. Ballmer was then promoted to President of Microsoft, a title that he held from July 1998 to February 2001, making him the de facto number two in the company to the chairman and CEO, Bill Gates. Chief Executive Officer (2000–2014) On January 13, 2000, Ballmer was officially named the chief executive officer. As CEO, Ballmer handled company finances and daily operations, but Gates remained chairman of the board and still retained control of the "technological vision" as chief software architect. Gates relinquished day-to-day activities when he stepped down as chief software architect in 2006, while staying on as chairman, and that gave Ballmer the autonomy needed to make major management changes at Microsoft. When Ballmer took over as CEO, the company was fighting an antitrust lawsuit brought on by the U.S. government and 20 states, plus class-action lawsuits and complaints from rival companies. While it was said that Gates would have continued fighting the suit, Ballmer made it his priority to settle these saying: "Being the object of a lawsuit, effectively, or a complaint from your government is a very awkward, uncomfortable position to be in. It just has all downside. People assume if the government brought a complaint that there's really a problem, and your ability to say we're a good, proper, moral place is tough. It's actually tough, even though you feel that way about yourselves." Upon becoming CEO, Ballmer required detailed business justification in order to approve of new products, rather than allowing hundreds of products that sounded potentially interesting or trendy. In 2005, he recruited B. Kevin Turner from Walmart, who was the President and CEO of Sam's Club, to become Microsoft's Chief Operating Officer. Turner was hired at Microsoft to lead the company's sales, marketing and services group and to instill more process and discipline in the company's operations and salesforce. Since Bill Gates' retirement, Ballmer oversaw a "dramatic shift away from the company's PC-first heritage", replacing most major division heads in order to break down the "talent-hoarding fiefdoms", and Businessweek said that the company "arguably now has the best product lineup in its history". Ballmer was instrumental in driving Microsoft's connected computing strategy, with acquisitions such as Skype. Under Ballmer's tenure as CEO, Microsoft's share price stagnated. The lackluster stock performance occurred despite Microsoft's financial success at that time. The company's annual revenue surged from $25 billion to $70 billion, while its net income increased 215% to $23 billion, and its gross profit of 75 cents on every dollar in sales is double that of Google or IBM. In terms of leading the company's total annual profit growth, Ballmer's tenure at Microsoft (16.4%) surpassed the performances of other well-known CEOs such as General Electric's Jack Welch (11.2%) and IBM's Louis V. Gerstner Jr. (2%). These gains came from the existing Windows and Office franchises, with Ballmer maintaining their profitability, fending off threats from competitors such as Linux and other open-source operating systems and Google Docs. Ballmer also built half a dozen new businesses, such as the data centers division and the Xbox entertainment and devices division ($8.9 billion), (which has prevented the Sony PlayStation and other gaming consoles from undermining Windows), and oversaw the acquisition of Skype. Ballmer also constructed the company's $20 billion Enterprise Business, consisting of new products and services such as Exchange, Windows Server, SQL Server, SharePoint, System Center, and Dynamics CRM, each of which initially faced an uphill battle for acceptance but have emerged as leading or dominant in each category. This diversified product mix helped to offset the company's reliance on PCs and mobile computing devices as the company entered the Post-PC era; in reporting quarterly results during April 2013, while Windows Phone 8 and Windows 8 had not managed to increase their market share above single digits, the company increased its profit 19% over the previous quarter in 2012, as the Microsoft Business Division (including Office 365) and Server and Tools division (cloud services) are each larger than the Windows division. Ballmer attracted criticism for failing to capitalize on several new consumer technologies, forcing Microsoft to play catch-up in the areas of tablet computing, smartphones and music players with mixed results. Under Ballmer's watch, "In many cases, Microsoft latched onto technologies like smartphones, touchscreens, 'smart' cars and wristwatches that read sports scores aloud long before Apple or Google did. But it repeatedly killed promising projects if they threatened its cash cows [Windows and Office]." Ballmer was even named one of the worst CEOs of 2013 by the BBC. As a result of these many criticisms, in May 2012, hedge fund manager David Einhorn called on Ballmer to step down as CEO of Microsoft. "His continued presence is the biggest overhang on Microsoft's stock," Einhorn said in reference to Ballmer. In a May 2012 column in Forbes magazine, Adam Hartung described Ballmer as "the worst CEO of a large publicly traded American company", saying he had "steered Microsoft out of some of the fastest growing and most lucrative tech markets (mobile music, headsets and tablets)". In 2009, and for the first time since Bill Gates resigned from day-to-day management at Microsoft, Ballmer delivered the opening keynote at CES. As part of his plans to expand on hardware, on June 19, 2012, Ballmer revealed Microsoft's first ever computer device, a tablet called Microsoft Surface at an event held in Hollywood, Los Angeles. He followed this by announcing the company's purchase of Nokia's mobile phone division in September 2013, his last major acquisition for Microsoft as CEO. On August 23, 2013, Microsoft announced that Ballmer would retire within the next 12 months. A special committee that included Bill Gates would decide on the next CEO. There was a list of potential successors to Ballmer as Microsoft CEO, but all had departed the company: Jim Allchin, Brad Silverberg, Paul Maritz, Nathan Myhrvold, Greg Maffei, Pete Higgins, Jeff Raikes, J. Allard, Robbie Bach, Bill Veghte, Ray Ozzie, Bob Muglia and Steven Sinofsky. B. Kevin Turner, Microsoft's Chief Operating Officer (COO), was considered by some to be a de facto number two to Ballmer, with Turner having a strong grasp of business and operations but lacking technological vision. On February 4, 2014, Satya Nadella succeeded Ballmer as CEO. Public image Although as a child he was so shy that he would hyperventilate before Hebrew school, Ballmer is known for his energetic and exuberant personality, which is meant to motivate employees and partners, shouting so much that he needed surgery on his vocal cords. Ballmer's flamboyant stage appearances at Microsoft events are widely circulated on the Internet as viral videos. One of his earliest known viral videos was a parody video, produced for Microsoft employees in 1986, promoting Windows 1.0 in the style of a Crazy Eddie commercial. Ballmer and Brian Valentine repeated this in a spoof promotion of Windows XP later on. A widely circulated video was his entrance on stage at Microsoft's 25th anniversary event in September 2000, where Ballmer jumped across the stage and shouted "I love this company!" Another well-known viral video was one captured at a Windows 2000 developers' conference, featuring a perspiring Ballmer chanting the word "developers". Relationship with Bill Gates Ballmer was Gates' best man at his wedding to Melinda French, and the two men described their relationship as a marriage. They were so close for years that another Microsoft executive described it as a mind meld. Combative debates—a part of Microsoft's corporate culture—that many observers believed were personal arguments occurred within the relationship; while Gates was glad in 2000 that Ballmer was willing to become CEO so he could focus on technology, the Wall Street Journal reported that there was tension surrounding the transition of authority. Things became so bitter that, on one occasion, Gates stormed out of a meeting after a shouting match in which Ballmer jumped to the defense of several colleagues, according to an individual present at the time. After the exchange, Ballmer seemed "remorseful", the person said. Once Gates leaves, "I'm not going to need him for anything. That's the principle", Ballmer said. "Use him, yes, need him, no". In October 2014, a few months after Ballmer left his post at Microsoft, a Vanity Fair profile stated that Ballmer and Gates no longer talk to each other due to animosity over Ballmer's resignation. In a November 2016 interview, Ballmer said he and Gates have "drifted apart" ever since, saying that they always had a "brotherly relationship" beforehand. He said that his push into the hardware business, specifically smartphones, which Gates did not support, contributed to their relationship breakdown. Retirement After saying in 2008 that he intended to remain CEO for another decade, Ballmer announced his retirement in 2013, after losing billions of dollars in acquisitions and on the Surface tablet. Microsoft's stock price rebounded on the news. Ballmer says that he regretted the lack of focus on Windows Mobile in the early 2000s, leaving Microsoft a distant third in the current smartphone market. Moreover, he attributed the success of the expensively-priced iPhones to carrier subsidies. He went on to say, He called the acquisition of the mobile phone division of Nokia as his "toughest decision" during his tenure, as it was overseeing the changing profile of Microsoft as it was expanding on hardware. Ballmer hosted his last company meeting in September 2013, and stepped down from the company's board of directors, in August 2014. On December 24, 2014, the Seattle Times reported that the IRS sued Ballmer, Craig Mundie, Jeff Raikes, Jim Allchin, Orlando Ayala and David Guenther in an effort to compel them to testify in Microsoft's corporate tax audit. The IRS has been looking into how Microsoft and other companies deal with transfer pricing. Other positions Ballmer served as director of Accenture Ltd. and a general partner of Accenture SCA from 2001 to 2006. On competing companies and software Apple In 2007, Ballmer said "There's no chance that the [Apple] iPhone is going to get any significant market share. No chance." Speaking at a conference in NYC in 2009, Ballmer criticized Apple's pricing, saying, "Now I think the tide has turned back the other direction (against Apple). The economy is helpful. Paying an extra $500 for a computer in this environment—same piece of hardware—paying $500 more to get a logo on it? I think that's a more challenging proposition for the average person than it used to be." In 2015, Ballmer called Microsoft's decision to invest in Apple to save it from bankruptcy in 1997 as the "craziest thing we ever did." By 2015, Apple was the world's most valuable company. In 2016, Ballmer did an interview with Bloomberg where Ballmer added context to his iPhone statement, saying "People like to point to this quote...but the reason I said that was the price of $600-$700 was too high," he says he did not realize the business model innovation that Apple was going to deploy, using the carriers to subsidize the phones by building the cost into the customer's monthly bill. Free and open source software In July 2000, Ballmer called the free software Linux kernel "communism" and further claimed that it infringed with Microsoft's intellectual property. In June 2001 he called Linux a "cancer that attaches itself in an intellectual property sense to everything it touches". Ballmer used the notion of "viral" licensing terms to express his concern over the fact that the GNU General Public License (GPL) employed by such software requires that all derivative software be under the GPL or a compatible license. In April 2003 he even interrupted his skiing holiday in Switzerland to personally plead with the mayor of Munich not to switch to Linux. But he did not succeed with this and Munich switched to LiMux, despite his offering a 35% discount at his lobbying visit. In March 2016, Ballmer changed his stance on Linux, saying that he supports his successor Satya Nadella's open source commitments. He maintained that his comments in 2001 were right at the time but that times have changed. Google In 2005, Microsoft sued Google for hiring one of its previous vice presidents, Kai-Fu Lee, claiming it was in violation of his one-year non-compete clause in his contract. Mark Lucovsky, who left for Google in 2004, alleged in a sworn statement to a Washington state court that Ballmer became enraged upon hearing that Lucovsky was about to leave Microsoft for Google, picked up his chair, and threw it across his office, and that, referring to then Google Executive Chairman Eric Schmidt (who had previously worked for competitors Sun and Novell), Ballmer vowed to "kill Google." Lucovsky reports: Ballmer then resumed attempting to persuade Lucovsky to stay at Microsoft. Ballmer has described Lucovsky's account of the incident as a "gross exaggeration of what actually took place". During the 2011 Web 2.0 Summit in San Francisco, he said: "You don't need to be a computer scientist to use a Windows Phone and you do to use an Android phone ... It is hard for me to be excited about the Android phones." In 2013, Ballmer said that Google was a "monopoly" that should be pressured from market competition authorities. Sports On March 6, 2008, Seattle mayor Greg Nickels announced that a local ownership group involving Ballmer made a "game-changing" commitment to invest $150 million in cash toward a proposed $300 million renovation of KeyArena and were ready to purchase the Seattle SuperSonics from the Professional Basketball Club LLC in order to keep the team in Seattle. However, this initiative failed, and the SuperSonics relocated to Oklahoma City, Oklahoma, where they now play as the Oklahoma City Thunder. In June 2012, Ballmer was an investor in Chris R. Hansen's proposal to build a new arena in the SoDo neighborhood of Seattle and bring the SuperSonics back to Seattle. On January 9, 2013, Ballmer and Hansen led a group of investors in an attempt to purchase the Sacramento Kings from the Maloof family and relocate them to Seattle for an estimated $650 million. However, this attempt also fell through. Following the Donald Sterling scandal in May 2014, Ballmer was the highest bidder in an attempt to purchase the Los Angeles Clippers for a reported price of $2 billion, which is the second highest bid for a sports franchise in North American sports history (after the $2.15 billion sale of the Los Angeles Dodgers in 2012). After a California court confirmed the authority of Shelly Sterling to sell the team, it was officially announced on August 12, 2014, that Ballmer would become the Los Angeles Clippers owner. On September 25, 2014, Ballmer said he would bar the team from using Apple products such as iPads, and replace them with Microsoft products. It has been reported that he had previously also barred his family from using iPhones. In March 2020, Ballmer agreed to buy The Forum in Inglewood, California. The purchase would allow him to build the Intuit Dome in the nearby area since plans for a new Clippers' arena were opposed by the former owners of The Forum. In a survey conducted by The Athletic in December 2020, Ballmer was voted the best owner in basketball. Wealth Ballmer was the second person after Roberto Goizueta to become a billionaire in U.S. dollars based on stock options received as an employee of a corporation in which he was neither a founder nor a relative of a founder. As of November 2021, Bloomberg Billionaires Index estimates his personal wealth at $117 billion, ranking him as the 8th richest person in the world. Philanthropy On November 12, 2014, it was announced that Ballmer and his wife Connie donated $50 million to the University of Oregon. Connie Ballmer is a University of Oregon alumna and previously served on the institution's board of trustees. The funds will go towards the university's $2 billion fundraising effort, and will focus towards scholarships, public health research and advocacy, and external branding/communications. On November 13, 2014, it was announced that Ballmer would provide a gift, estimated at $60 million, to Harvard University's computer science department. The gift would allow the department to hire new faculty, and hopefully increase the national stature of the program. Ballmer previously donated $10 million to the same department in 1994, in a joint-gift with Bill Gates. Ballmer serves on the World Chairman's Council of the Jewish National Fund, which means he has donated US$1 million or more to the JNF. USAFacts Ballmer launched USAFacts.org in 2017, a non-profit organization whose goal is to allow people to understand US government revenue, spending and societal impact. He is reported to have contributed $10 million to fund teams of researchers who populated the website's database with official data. Personal life In 1990, Ballmer married Connie Snyder; they have three sons. The Ballmers live in Hunts Point, Washington. References External links Corporate biography CS50 Lecture by Steve Ballmer at Harvard University, November 2014 South China Morning Post audio interview Steve Ballmer Playlist Appearance on WMBR's Dinnertime Sampler radio show February 23, 2005 Forbes Profile 1956 births 20th-century American businesspeople 21st-century American businesspeople American billionaires American chief operating officers American computer businesspeople American Internet celebrities American people of Belarusian-Jewish descent American people of Swiss descent American technology chief executives Businesspeople from Detroit Businesspeople from Seattle Businesspeople in software Chevaliers of the Légion d'honneur Detroit Country Day School alumni Directors of Microsoft The Harvard Crimson people Harvard Advocate alumni Jewish American sportspeople Living people Los Angeles Clippers owners Microsoft employees People from Farmington Hills, Michigan People from Hunts Point, Washington Stanford University students 21st-century American Jews

C_efc26e1de8bc412ba56fd539c31afce1_1

What was the reason for the lawsuit?

What was the reason for Microsoft's lawsuit against Google?

Steve Ballmer

In 2005, Microsoft sued Google for hiring one of its previous vice presidents, Kai-Fu Lee, claiming it was in violation of his one-year non-compete clause in his contract. Mark Lucovsky, who left for Google in 2004, alleged in a sworn statement to a Washington state court that Ballmer became enraged upon hearing that Lucovsky was about to leave Microsoft for Google, picked up his chair, and threw it across his office, and that, referring to former Google CEO Eric Schmidt (who previously worked for competitors Sun and Novell), Ballmer vowed to "kill Google." Lucovsky reports: At some point in the conversation Mr. Ballmer said: "Just tell me it's not Google." I told him it was Google. At that point, Mr. Ballmer picked up a chair and threw it across the room hitting a table in his office. Mr. Ballmer then said: "Fucking Eric Schmidt is a fucking pussy. I'm going to fucking bury that guy, I have done it before, and I will do it again. I'm going to fucking kill Google." Ballmer then resumed attempting to persuade Lucovsky to stay at Microsoft. Ballmer has described Lucovsky's account of the incident as a "gross exaggeration of what actually took place". During the 2011 Web 2.0 Summit in San Francisco, he said: "You don't need to be a computer scientist to use a Windows Phone and you do to use an Android phone ... It is hard for me to be excited about the Android phones." In 2013, Ballmer said that Google was a "monopoly" that should be pressured from market competition authorities. CANNOTANSWER

for hiring one of its previous vice presidents, Kai-Fu Lee, claiming it was in violation of his one-year non-compete clause in his contract.

Steven Anthony Ballmer (; March 24, 1956) is an American businessman and investor who served as the chief executive officer of Microsoft from 2000 to 2014. He is the current owner of the Los Angeles Clippers of the National Basketball Association (NBA). As of February 2022, Bloomberg Billionaires Index estimates his personal wealth at around $111 billion, making him the ninth-richest person on Earth. Ballmer was hired by Bill Gates at Microsoft in 1980, and subsequently left the MBA program at Stanford University. He eventually became president in 1998, and replaced Gates as CEO on January 13, 2000. On February 4, 2014, Ballmer retired as CEO and was replaced by Satya Nadella; Ballmer remained on Microsoft's Board of Directors until August 19, 2014, when he left to prepare for teaching a new class. His tenure and legacy as Microsoft CEO has received mixed reception, with the company tripling sales and doubling profits, but losing its market dominance and missing out on 21st-century technology trends such as the ascendance of smartphones in the form of iPhone and Android. Early life and education Ballmer was born in Detroit, Michigan; he is the son of Beatrice Dworkin and Frederic Henry Ballmer (Fritz Hans Ballmer), a manager at the Ford Motor Company. His father was a Swiss immigrant who predicted that his son, at eight years old, would attend Harvard. His mother was Belarusian Jewish. Through his mother, Ballmer is a second cousin of actress and comedian Gilda Radner. Ballmer grew up in the affluent community of Farmington Hills, Michigan. Ballmer also lived in Brussels from 1964 to 1967, where he attended the International School of Brussels. In 1973, he attended college prep and engineering classes at Lawrence Technological University. He graduated as valedictorian from Detroit Country Day School, a private college preparatory school in Beverly Hills, Michigan, with a score of 800 on the mathematical section of the SAT and was a National Merit Scholar. He formerly sat on the school's board of directors. In 1977, he graduated magna cum laude from Harvard University with a Bachelor of Arts in applied mathematics and economics. At college, Ballmer was a manager for the Harvard Crimson football team and a member of the Fox Club, worked on The Harvard Crimson newspaper as well as the Harvard Advocate, and lived down the hall from fellow sophomore Bill Gates. He scored highly in the William Lowell Putnam Mathematical Competition, an exam sponsored by the Mathematical Association of America, scoring higher than Bill Gates. He then worked as an assistant product manager at Procter & Gamble for two years, where he shared an office with Jeff Immelt, who later became CEO of General Electric. After briefly trying to write screenplays in Hollywood, in 1980 Ballmer dropped out of the Stanford Graduate School of Business to join Microsoft. History with Microsoft Ballmer joined Microsoft on June 11, 1980, and became Microsoft's 30th employee, the first business manager hired by Gates. Ballmer was offered a salary of $50,000 as well as 5-10% of the company. When Microsoft was incorporated in 1981, Ballmer owned 8% of the company. In 2003, Ballmer sold 39.3 million Microsoft shares equating to approximately $955 million, thereby reducing his ownership to 4%. The same year, he replaced Microsoft's employee stock options program. In the 20 years following his hire, Ballmer headed several Microsoft divisions, including operations, operating systems development, and sales and support. From February 1992 onwards, he was Executive Vice President, Sales, and Support. Ballmer led Microsoft's development of the .NET Framework. Ballmer was then promoted to President of Microsoft, a title that he held from July 1998 to February 2001, making him the de facto number two in the company to the chairman and CEO, Bill Gates. Chief Executive Officer (2000–2014) On January 13, 2000, Ballmer was officially named the chief executive officer. As CEO, Ballmer handled company finances and daily operations, but Gates remained chairman of the board and still retained control of the "technological vision" as chief software architect. Gates relinquished day-to-day activities when he stepped down as chief software architect in 2006, while staying on as chairman, and that gave Ballmer the autonomy needed to make major management changes at Microsoft. When Ballmer took over as CEO, the company was fighting an antitrust lawsuit brought on by the U.S. government and 20 states, plus class-action lawsuits and complaints from rival companies. While it was said that Gates would have continued fighting the suit, Ballmer made it his priority to settle these saying: "Being the object of a lawsuit, effectively, or a complaint from your government is a very awkward, uncomfortable position to be in. It just has all downside. People assume if the government brought a complaint that there's really a problem, and your ability to say we're a good, proper, moral place is tough. It's actually tough, even though you feel that way about yourselves." Upon becoming CEO, Ballmer required detailed business justification in order to approve of new products, rather than allowing hundreds of products that sounded potentially interesting or trendy. In 2005, he recruited B. Kevin Turner from Walmart, who was the President and CEO of Sam's Club, to become Microsoft's Chief Operating Officer. Turner was hired at Microsoft to lead the company's sales, marketing and services group and to instill more process and discipline in the company's operations and salesforce. Since Bill Gates' retirement, Ballmer oversaw a "dramatic shift away from the company's PC-first heritage", replacing most major division heads in order to break down the "talent-hoarding fiefdoms", and Businessweek said that the company "arguably now has the best product lineup in its history". Ballmer was instrumental in driving Microsoft's connected computing strategy, with acquisitions such as Skype. Under Ballmer's tenure as CEO, Microsoft's share price stagnated. The lackluster stock performance occurred despite Microsoft's financial success at that time. The company's annual revenue surged from $25 billion to $70 billion, while its net income increased 215% to $23 billion, and its gross profit of 75 cents on every dollar in sales is double that of Google or IBM. In terms of leading the company's total annual profit growth, Ballmer's tenure at Microsoft (16.4%) surpassed the performances of other well-known CEOs such as General Electric's Jack Welch (11.2%) and IBM's Louis V. Gerstner Jr. (2%). These gains came from the existing Windows and Office franchises, with Ballmer maintaining their profitability, fending off threats from competitors such as Linux and other open-source operating systems and Google Docs. Ballmer also built half a dozen new businesses, such as the data centers division and the Xbox entertainment and devices division ($8.9 billion), (which has prevented the Sony PlayStation and other gaming consoles from undermining Windows), and oversaw the acquisition of Skype. Ballmer also constructed the company's $20 billion Enterprise Business, consisting of new products and services such as Exchange, Windows Server, SQL Server, SharePoint, System Center, and Dynamics CRM, each of which initially faced an uphill battle for acceptance but have emerged as leading or dominant in each category. This diversified product mix helped to offset the company's reliance on PCs and mobile computing devices as the company entered the Post-PC era; in reporting quarterly results during April 2013, while Windows Phone 8 and Windows 8 had not managed to increase their market share above single digits, the company increased its profit 19% over the previous quarter in 2012, as the Microsoft Business Division (including Office 365) and Server and Tools division (cloud services) are each larger than the Windows division. Ballmer attracted criticism for failing to capitalize on several new consumer technologies, forcing Microsoft to play catch-up in the areas of tablet computing, smartphones and music players with mixed results. Under Ballmer's watch, "In many cases, Microsoft latched onto technologies like smartphones, touchscreens, 'smart' cars and wristwatches that read sports scores aloud long before Apple or Google did. But it repeatedly killed promising projects if they threatened its cash cows [Windows and Office]." Ballmer was even named one of the worst CEOs of 2013 by the BBC. As a result of these many criticisms, in May 2012, hedge fund manager David Einhorn called on Ballmer to step down as CEO of Microsoft. "His continued presence is the biggest overhang on Microsoft's stock," Einhorn said in reference to Ballmer. In a May 2012 column in Forbes magazine, Adam Hartung described Ballmer as "the worst CEO of a large publicly traded American company", saying he had "steered Microsoft out of some of the fastest growing and most lucrative tech markets (mobile music, headsets and tablets)". In 2009, and for the first time since Bill Gates resigned from day-to-day management at Microsoft, Ballmer delivered the opening keynote at CES. As part of his plans to expand on hardware, on June 19, 2012, Ballmer revealed Microsoft's first ever computer device, a tablet called Microsoft Surface at an event held in Hollywood, Los Angeles. He followed this by announcing the company's purchase of Nokia's mobile phone division in September 2013, his last major acquisition for Microsoft as CEO. On August 23, 2013, Microsoft announced that Ballmer would retire within the next 12 months. A special committee that included Bill Gates would decide on the next CEO. There was a list of potential successors to Ballmer as Microsoft CEO, but all had departed the company: Jim Allchin, Brad Silverberg, Paul Maritz, Nathan Myhrvold, Greg Maffei, Pete Higgins, Jeff Raikes, J. Allard, Robbie Bach, Bill Veghte, Ray Ozzie, Bob Muglia and Steven Sinofsky. B. Kevin Turner, Microsoft's Chief Operating Officer (COO), was considered by some to be a de facto number two to Ballmer, with Turner having a strong grasp of business and operations but lacking technological vision. On February 4, 2014, Satya Nadella succeeded Ballmer as CEO. Public image Although as a child he was so shy that he would hyperventilate before Hebrew school, Ballmer is known for his energetic and exuberant personality, which is meant to motivate employees and partners, shouting so much that he needed surgery on his vocal cords. Ballmer's flamboyant stage appearances at Microsoft events are widely circulated on the Internet as viral videos. One of his earliest known viral videos was a parody video, produced for Microsoft employees in 1986, promoting Windows 1.0 in the style of a Crazy Eddie commercial. Ballmer and Brian Valentine repeated this in a spoof promotion of Windows XP later on. A widely circulated video was his entrance on stage at Microsoft's 25th anniversary event in September 2000, where Ballmer jumped across the stage and shouted "I love this company!" Another well-known viral video was one captured at a Windows 2000 developers' conference, featuring a perspiring Ballmer chanting the word "developers". Relationship with Bill Gates Ballmer was Gates' best man at his wedding to Melinda French, and the two men described their relationship as a marriage. They were so close for years that another Microsoft executive described it as a mind meld. Combative debates—a part of Microsoft's corporate culture—that many observers believed were personal arguments occurred within the relationship; while Gates was glad in 2000 that Ballmer was willing to become CEO so he could focus on technology, the Wall Street Journal reported that there was tension surrounding the transition of authority. Things became so bitter that, on one occasion, Gates stormed out of a meeting after a shouting match in which Ballmer jumped to the defense of several colleagues, according to an individual present at the time. After the exchange, Ballmer seemed "remorseful", the person said. Once Gates leaves, "I'm not going to need him for anything. That's the principle", Ballmer said. "Use him, yes, need him, no". In October 2014, a few months after Ballmer left his post at Microsoft, a Vanity Fair profile stated that Ballmer and Gates no longer talk to each other due to animosity over Ballmer's resignation. In a November 2016 interview, Ballmer said he and Gates have "drifted apart" ever since, saying that they always had a "brotherly relationship" beforehand. He said that his push into the hardware business, specifically smartphones, which Gates did not support, contributed to their relationship breakdown. Retirement After saying in 2008 that he intended to remain CEO for another decade, Ballmer announced his retirement in 2013, after losing billions of dollars in acquisitions and on the Surface tablet. Microsoft's stock price rebounded on the news. Ballmer says that he regretted the lack of focus on Windows Mobile in the early 2000s, leaving Microsoft a distant third in the current smartphone market. Moreover, he attributed the success of the expensively-priced iPhones to carrier subsidies. He went on to say, He called the acquisition of the mobile phone division of Nokia as his "toughest decision" during his tenure, as it was overseeing the changing profile of Microsoft as it was expanding on hardware. Ballmer hosted his last company meeting in September 2013, and stepped down from the company's board of directors, in August 2014. On December 24, 2014, the Seattle Times reported that the IRS sued Ballmer, Craig Mundie, Jeff Raikes, Jim Allchin, Orlando Ayala and David Guenther in an effort to compel them to testify in Microsoft's corporate tax audit. The IRS has been looking into how Microsoft and other companies deal with transfer pricing. Other positions Ballmer served as director of Accenture Ltd. and a general partner of Accenture SCA from 2001 to 2006. On competing companies and software Apple In 2007, Ballmer said "There's no chance that the [Apple] iPhone is going to get any significant market share. No chance." Speaking at a conference in NYC in 2009, Ballmer criticized Apple's pricing, saying, "Now I think the tide has turned back the other direction (against Apple). The economy is helpful. Paying an extra $500 for a computer in this environment—same piece of hardware—paying $500 more to get a logo on it? I think that's a more challenging proposition for the average person than it used to be." In 2015, Ballmer called Microsoft's decision to invest in Apple to save it from bankruptcy in 1997 as the "craziest thing we ever did." By 2015, Apple was the world's most valuable company. In 2016, Ballmer did an interview with Bloomberg where Ballmer added context to his iPhone statement, saying "People like to point to this quote...but the reason I said that was the price of $600-$700 was too high," he says he did not realize the business model innovation that Apple was going to deploy, using the carriers to subsidize the phones by building the cost into the customer's monthly bill. Free and open source software In July 2000, Ballmer called the free software Linux kernel "communism" and further claimed that it infringed with Microsoft's intellectual property. In June 2001 he called Linux a "cancer that attaches itself in an intellectual property sense to everything it touches". Ballmer used the notion of "viral" licensing terms to express his concern over the fact that the GNU General Public License (GPL) employed by such software requires that all derivative software be under the GPL or a compatible license. In April 2003 he even interrupted his skiing holiday in Switzerland to personally plead with the mayor of Munich not to switch to Linux. But he did not succeed with this and Munich switched to LiMux, despite his offering a 35% discount at his lobbying visit. In March 2016, Ballmer changed his stance on Linux, saying that he supports his successor Satya Nadella's open source commitments. He maintained that his comments in 2001 were right at the time but that times have changed. Google In 2005, Microsoft sued Google for hiring one of its previous vice presidents, Kai-Fu Lee, claiming it was in violation of his one-year non-compete clause in his contract. Mark Lucovsky, who left for Google in 2004, alleged in a sworn statement to a Washington state court that Ballmer became enraged upon hearing that Lucovsky was about to leave Microsoft for Google, picked up his chair, and threw it across his office, and that, referring to then Google Executive Chairman Eric Schmidt (who had previously worked for competitors Sun and Novell), Ballmer vowed to "kill Google." Lucovsky reports: Ballmer then resumed attempting to persuade Lucovsky to stay at Microsoft. Ballmer has described Lucovsky's account of the incident as a "gross exaggeration of what actually took place". During the 2011 Web 2.0 Summit in San Francisco, he said: "You don't need to be a computer scientist to use a Windows Phone and you do to use an Android phone ... It is hard for me to be excited about the Android phones." In 2013, Ballmer said that Google was a "monopoly" that should be pressured from market competition authorities. Sports On March 6, 2008, Seattle mayor Greg Nickels announced that a local ownership group involving Ballmer made a "game-changing" commitment to invest $150 million in cash toward a proposed $300 million renovation of KeyArena and were ready to purchase the Seattle SuperSonics from the Professional Basketball Club LLC in order to keep the team in Seattle. However, this initiative failed, and the SuperSonics relocated to Oklahoma City, Oklahoma, where they now play as the Oklahoma City Thunder. In June 2012, Ballmer was an investor in Chris R. Hansen's proposal to build a new arena in the SoDo neighborhood of Seattle and bring the SuperSonics back to Seattle. On January 9, 2013, Ballmer and Hansen led a group of investors in an attempt to purchase the Sacramento Kings from the Maloof family and relocate them to Seattle for an estimated $650 million. However, this attempt also fell through. Following the Donald Sterling scandal in May 2014, Ballmer was the highest bidder in an attempt to purchase the Los Angeles Clippers for a reported price of $2 billion, which is the second highest bid for a sports franchise in North American sports history (after the $2.15 billion sale of the Los Angeles Dodgers in 2012). After a California court confirmed the authority of Shelly Sterling to sell the team, it was officially announced on August 12, 2014, that Ballmer would become the Los Angeles Clippers owner. On September 25, 2014, Ballmer said he would bar the team from using Apple products such as iPads, and replace them with Microsoft products. It has been reported that he had previously also barred his family from using iPhones. In March 2020, Ballmer agreed to buy The Forum in Inglewood, California. The purchase would allow him to build the Intuit Dome in the nearby area since plans for a new Clippers' arena were opposed by the former owners of The Forum. In a survey conducted by The Athletic in December 2020, Ballmer was voted the best owner in basketball. Wealth Ballmer was the second person after Roberto Goizueta to become a billionaire in U.S. dollars based on stock options received as an employee of a corporation in which he was neither a founder nor a relative of a founder. As of November 2021, Bloomberg Billionaires Index estimates his personal wealth at $117 billion, ranking him as the 8th richest person in the world. Philanthropy On November 12, 2014, it was announced that Ballmer and his wife Connie donated $50 million to the University of Oregon. Connie Ballmer is a University of Oregon alumna and previously served on the institution's board of trustees. The funds will go towards the university's $2 billion fundraising effort, and will focus towards scholarships, public health research and advocacy, and external branding/communications. On November 13, 2014, it was announced that Ballmer would provide a gift, estimated at $60 million, to Harvard University's computer science department. The gift would allow the department to hire new faculty, and hopefully increase the national stature of the program. Ballmer previously donated $10 million to the same department in 1994, in a joint-gift with Bill Gates. Ballmer serves on the World Chairman's Council of the Jewish National Fund, which means he has donated US$1 million or more to the JNF. USAFacts Ballmer launched USAFacts.org in 2017, a non-profit organization whose goal is to allow people to understand US government revenue, spending and societal impact. He is reported to have contributed $10 million to fund teams of researchers who populated the website's database with official data. Personal life In 1990, Ballmer married Connie Snyder; they have three sons. The Ballmers live in Hunts Point, Washington. References External links Corporate biography CS50 Lecture by Steve Ballmer at Harvard University, November 2014 South China Morning Post audio interview Steve Ballmer Playlist Appearance on WMBR's Dinnertime Sampler radio show February 23, 2005 Forbes Profile 1956 births 20th-century American businesspeople 21st-century American businesspeople American billionaires American chief operating officers American computer businesspeople American Internet celebrities American people of Belarusian-Jewish descent American people of Swiss descent American technology chief executives Businesspeople from Detroit Businesspeople from Seattle Businesspeople in software Chevaliers of the Légion d'honneur Detroit Country Day School alumni Directors of Microsoft The Harvard Crimson people Harvard Advocate alumni Jewish American sportspeople Living people Los Angeles Clippers owners Microsoft employees People from Farmington Hills, Michigan People from Hunts Point, Washington Stanford University students 21st-century American Jews

C_ca305091629643729dbf4a1ce7ed809a_1

Where did she move

Where did Jane Jacobs move?

Jane Jacobs

In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. CANNOTANSWER

New York City

{{Infobox person |image = Jane Jacobs.jpg |imagesize = |caption = Jacobs as chair of a Greenwich Village civic group at a 1961 press conference |name = Jane Jacobs |honorific_suffix = |birth_name = Jane Butzner |birth_date = |birth_place = Scranton, Pennsylvania, U.S. |death_date = |death_place = Toronto, Ontario, Canada |education = Graduate of Scranton Central High School; two years of undergraduate studies at Columbia University |occupation = Journalist, author, urban theorist |employer = Amerika, Architectural Forum |notable_works = The Death and Life of Great American Cities |organization = Joint Committee to Stop the Lower Manhattan Expressway, Stop Spadina Save Our City Coordinating Committee Carlos Moreno<ref>Willsher, Kim, Paris mayor unveils '15-minute city' plan in re-election campaign, The Guardian, Friday, February 7, 2020</ref> |awards = OC, OOnt, Vincent Scully Prize, National Building Museum |spouse = Robert Jacobs |children = Ned Jacobs, James Jacobs, Mary Burgin Jacobs }} Jane Jacobs (née Butzner; 4 May 1916 – 25 April 2006) was an American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city-dwellers. Jacobs organized grassroots efforts to protect neighborhoods from urban renewal and slum clearance – in particular plans by Robert Moses to overhaul her own Greenwich Village neighborhood. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, which would have passed directly through an area of Manhattan that later became known as SoHo, as well as part of Little Italy and Chinatown. She was arrested in 1968 for inciting a crowd at a public hearing on that project. After moving to Toronto in 1968, she joined the opposition to the Spadina Expressway and the associated network of expressways in Toronto that were planned and under construction. As a woman and a writer who criticized experts in the male-dominated field of urban planning, Jacobs endured scorn from established figures. Routinely, she was described first as a housewife, as she did not have a college degree or any formal training in urban planning; as a result, her lack of credentials was seized upon as grounds for criticism. However, the influence of her concepts eventually was acknowledged by highly respected professionals such as Richard Florida and Robert Lucas. Early years Jacobs was born Jane Isabel Butzner in Scranton, Pennsylvania, the daughter of Bess Robison Butzner, a former teacher and nurse and John Decker Butzner, a physician. They were a Protestant family in a heavily Roman Catholic town. Her brother, John Decker Butzner, Jr., served as a judge on the United States Court of Appeals for the Fourth Circuit. After graduation from Scranton High School, she worked for a year as the unpaid assistant to the women's page editor at the Scranton Tribune. New York City In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which deviated some from the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in Manhattan, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. Career After attending Columbia University's School of General Studies for two years, Butzner found a job at Iron Age magazine. Her 1943 article on economic decline in Scranton was well publicized and led the Murray Corporation of America to locate a warplane factory there. Encouraged by this success, Butzner petitioned the War Production Board to support more operations in Scranton. Experiencing job discrimination at Iron Age, she also advocated for equal pay for women and for the right of workers to unionize. Amerika She became a feature writer for the Office of War Information and then a reporter for Amerika, a publication of the U.S. State Department in the Russian language. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson Street. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect. The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard. Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On 25 March 1952, Jacobs delivered her response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said: The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe... Architectural Forum Jacobs left Amerika in 1952 when it announced its relocation to Washington, D.C. She then found a well-paying job at Architectural Forum, published by Henry Luce of Time Inc. She was hired as an associate editor. After early success in that position, Jacobs began to take assignments on urban planning and "urban blight". In 1954, she was assigned to cover a development in Philadelphia designed by Edmund Bacon. Although her editors expected a positive story, Jacobs criticized Bacon's project, reacting against its lack of concern for the poor African Americans who were directly affected. When Bacon showed Jacobs examples of undeveloped and developed blocks, she determined that "development" seemed to end community life on the street. When Jacobs returned to the offices of Architectural Forum, she began to question the 1950s consensus on urban planning. In 1955, Jacobs met William Kirk, an Episcopal minister who worked in East Harlem. Kirk came to the Architectural Forum offices to describe the impact that "revitalization" had on East Harlem, and he introduced Jacobs to the neighborhood. In 1956, while standing in for Douglas Haskell of Architectural Forum, Jacobs delivered a lecture at Harvard University. She addressed leading architects, urban planners, and intellectuals (including Lewis Mumford), speaking on the topic of East Harlem. She urged this audience to "respect – in the deepest sense – strips of chaos that have a weird wisdom of their own not yet encompassed in our concept of urban order." Contrary to her expectations, the talk was received with enthusiasm, but it also marked her as a threat to established urban planners, real estate owners, and developers. Architectural Forum printed the speech that year, along with photographs of East Harlem. Rockefeller Foundation and Death and Life of Great American Cities After reading her Harvard speech, William H. Whyte invited Jacobs to write an article for Fortune magazine. The resulting piece, "Downtown Is for People", appeared in a 1958 issue of Fortune, and marked her first public criticism of Robert Moses. Her criticism of the Lincoln Center was not popular with supporters of urban renewal at Architectural Forum and Fortune. C.D. Jackson, the publisher of Fortune, was outraged and over the telephone, demanded of Whyte: "Who is this crazy dame?" The Fortune article brought Jacobs to the attention of Chadbourne Gilpatric, then associate director of the Humanities Division at the Rockefeller Foundation. The foundation had moved aggressively into urban topics, with a recent award to the Massachusetts Institute of Technology for studies of urban aesthetics that would culminate in the publication of Kevin A. Lynch's Image of the City. In May 1958, Gilpatric invited Jacobs to begin serving as a reviewer for grant proposals. Later that year, the Rockefeller Foundation awarded a grant to Jacobs to produce a critical study of city planning and urban life in the U.S. (From the mid-1950s to the mid-1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee.) Gilpatric encouraged Jacobs to "explor[e] the field of urban design to look for ideas and actions which may improve thinking on how the design of cities might better serve urban life, including cultural and humane value." Affiliating with The New School (then called The New School for Social Research), she spent three years conducting research and writing drafts. In 1961, Random House published the result: The Death and Life of Great American Cities.The Death and Life of Great American Cities remains one of the most influential books in the history of American city planning. She coined the terms "social capital", "mixed primary uses", and "eyes on the street", which were adopted professionally in urban design, sociology, and many other fields. Jacobs painted a devastating picture of the profession of city planning, labeling it a pseudoscience. This angered the male-dominated urban planning profession. Jacobs was criticized with ad hominem attacks, being called a "militant dame" and a "housewife": an amateur who had no right to interfere with an established discipline. One planner dismissed Jacobs's book as "bitter coffee-house rambling". Robert Moses, sent a copy, called it "intemperate and also libelous... Sell this junk to someone else." Later, her book was criticized from the left for leaving out race and openly endorsing gentrification, which Jacobs referred to as "unslumming". In 1962, she resigned her position at Architectural Forum to become a full-time author and concentrate on raising her children. In other political activities she became an opponent of the Vietnam War, marched on the Pentagon in October 1967, and criticized the construction of the World Trade Center as a disaster for Manhattan's waterfront. Struggle for Greenwich Village During the 1950s and 1960s, her home neighborhood of Greenwich Village was being transformed by city and state efforts to build housing (see, for example, Jacobs's 1961 fight to build the West Village Houses in lieu of large apartment houses), private developers, the expansion of New York University, and by the urban renewal plans of Robert Moses. Moses' plan, funded as "slum clearance" by Title I of the Housing Act of 1949, also called for several blocks to be razed and replaced with upscale high-rises. The plan forced 132 families out of their homes and displaced 1,000 small businesses—the result was Washington Square Village. As part of his efforts to revitalize the area, Moses had proposed the extension of Fifth Avenue through Washington Square Park in 1935. In the face of community opposition, Moses had shelved the project, but revived the idea in the 1950s. Moses argued that the Fifth Avenue extension would improve the flow of traffic through the neighborhood and provide access to the planned Lower Manhattan Expressway (LOMEX), which would connect the Manhattan Bridge and Williamsburg Bridge with the Holland Tunnel. In response, local activist Shirley Hayes created the "Committee to Save Washington Square Park", a coalition of dozens of local neighborhood groups that opposed the roadway extension. Raymond S. Rubinow eventually took over the organization, changing its name to the "Joint Emergency Committee to Close Washington Square to Traffic". Jacobs had joined the committee under Hayes, but she took a more prominent role under Rubinow, reaching out to media outlets such as The Village Voice, which provided more sympathetic coverage than The New York Times. The committee gained the support of Margaret Mead, Eleanor Roosevelt, Lewis Mumford, Charles Abrams, and William H. Whyte, as well as Carmine De Sapio, a Greenwich Village resident and influential Democratic leader. De Sapio's involvement proved decisive. On 25 June 1958, the city closed Washington Square Park to traffic, and the joint committee held a ribbon tying (not cutting) ceremony. Plans for LOMEX expressway continued despite growing community opposition in areas such as Little Italy. In the 1960s, Jacobs chaired the Joint Committee to Stop the Lower Manhattan Expressway. The New York Times was sympathetic to Moses, while The Village Voice covered community rallies and advocated against the expressway. Jacobs continued to fight the expressway when plans resurfaced in 1962, 1965, and 1968, and she became a local hero for her opposition to the project. She was arrested by a plainclothes police officer on April 10, 1968, at a public hearing during which the crowd had charged the stage and destroyed the stenographer's notes. She was accused of inciting a riot, criminal mischief, and obstructing public administration. After months of trials conducted in New York City (to which Jacobs commuted from Toronto), her charge was reduced to disorderly conduct.New York: A Documentary Film devoted an hour of the eight-part, seventeen-and-a-half-hour series to the battle between Moses and Jacobs. Robert Caro's biography of Moses, The Power Broker, gives only passing mention to this event, however, despite Jacobs's strong influence on Caro. In 2017, Caro told an interviewer about the difficulty in cutting more than 300,000 words from his initial manuscript: "The section that I wrote on Jane Jacobs disappeared. To this day, when someone says: 'There's hardly a mention of Jane Jacobs,' I think, 'But I wrote a lot about her.' Every time I'm asked about that, I have this sick feeling." Life in Toronto Soon after her arrest in 1968, Jacobs moved to Toronto, eventually settling at 69 Albany Avenue in The Annex from 1971 until her death in 2006. She decided to leave the U.S. in part because she opposed the Vietnam War, she worried about the fate of her two draft-age sons, and she did not want to continue fighting the New York City government. She and her husband chose Toronto because it was pleasant and offered employment opportunities, and they moved to an area of Toronto that included so many Americans avoiding the draft that it was called the "American ghetto". She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether cities were being built for people or for cars. She was arrested twice during demonstrations. She also had considerable influence on the regeneration of the St. Lawrence neighborhood, a housing project regarded as a major success. She became a Canadian citizen in 1974 and later, she told writer James Howard Kunstler that dual citizenship was not possible at the time, implying that her U.S. citizenship was lost. In 1980, she offered a more urban perspective on Quebec's sovereignty in her book, The Question of Separatism: Quebec and the Struggle over Separation. Jacobs was an advocate of a Province of Toronto to separate the city proper from Ontario. Jacobs said, "Cities, to thrive in the twenty-first century, must separate themselves politically from their surrounding areas." She was selected to be an officer of the Order of Canada in 1996 for her seminal writings and thought-provoking commentaries on urban development. The community and urban sociology section of the American Sociological Association awarded her its Outstanding Lifetime Contribution award in 2002. In 1997, the city government of Toronto sponsored a conference entitled, "Jane Jacobs: Ideas That Matter", which led to a book by the same name. At the end of the conference, the Jane Jacobs Prize was created. It includes an annual stipend of $5,000 for three years to be given to "celebrate Toronto's original, unsung heroes – by seeking out citizens who are engaged in activities that contribute to the city's vitality". Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and she was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a longshot. During the mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city waterfront to Toronto City Centre Airport (TCCA). Following the election, the Toronto city council's earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport was still in operation as of 2019. In lieu of the bridge, a pedestrian tunnel broke ground in March 2012. The tunnel opened on 30 July 2015. Jacobs also was active in a campaign against a plan of Royal St. George's College (an established school very close to the Jacobs residence in Toronto's Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but that the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school's plans, the decision later was reversed – and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing. She also had an influence on Vancouver's urban planning. Jacobs has been called "the mother of Vancouverism", referring to that city's use of her "density done well" philosophy. Jacobs died in Toronto Western Hospital aged 89, on 25 April 2006, apparently of a stroke. She was survived by a brother, James Butzner (d. 2009); a daughter, Burgin Jacobs, her sons, James and Ned of Vancouver, and by two grandchildren and two great-grandchildren. Upon her death her family's statement noted: "What's important is not that she died but that she lived, and that her life's work has greatly influenced the way we think. Please remember her by reading her books and implementing her ideas". Legacy Jacobs is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. She has been characterized as a major influence on decentralist and radical centrist thought. She discussed her legacy in an interview with Reason magazine. While Jacobs saw her greatest legacy to be her contributions to economic theory, it is in the realm of urban planning that she has had her most extensive effect. Her observations about the ways in which cities function revolutionized the urban planning profession and discredited many accepted planning models that had dominated mid-century planning. The influential Harvard Economist Edward Glaeser, known for his work on urban studies, acknowledged that Jane Jacobs (1960s) had been prescient in attacking Moses for "replacing well-functioning neighborhoods with Le Corbusier-inspired towers". Glaeser agreed that these housing projects proved to be Moses' greatest failures, "Moses spent millions and evicted tens of thousands to create buildings that became centers of crime, poverty, and despair." She also was famous for introducing concepts such as the "Ballet of the Sidewalk" and "Eyes on the Street", a reference to what would later be known as natural surveillance. The concept had a huge influence on planners and architects such as Oscar Newman, who prepared the idea through a series of studies that would culminate in his defensible space theory. The work of Jacobs and Newman would go on to affect American housing policy through the HOPE VI Program, an effort by the United States Department of Housing and Urban Development to demolish the high-rise public housing projects so reviled by Jacobs and to replace them with low-rise, mixed-income housing. Throughout her life, Jacobs fought to alter the way in which city development was approached. By arguing that cities were living beings and ecosystems, she advocated ideas such as "mixed use" development and bottom-up planning. Furthermore, her harsh criticisms of "slum clearing" and "high-rise housing" projects were instrumental in discrediting these once universally supported planning practices. Jacobs is remembered as being an advocate for the mindful development of cities, and for leaving "a legacy of empowerment for citizens to trust their common sense and become advocates for their place". Despite the fact that Jacobs mainly focused on New York City, her arguments have been identified as universal. For instance, her opposition against the demolition of urban neighborhoods for projects of urban renewal had "special resonance" in Melbourne, Australia. In Melbourne in the 1960s, resident associations fought against large-scale high-rise housing projects of the Housing Commission of Victoria, which they argued had little regard for the impact on local communities. Jacobs fought an uphill battle against dominant trends of planning. Despite the United States remaining very much a suburban nation, the work of Jacobs has contributed to city living being rehabilitated and revitalized. Because of her ideas, today, many distressed urban neighborhoods are more likely to be gentrified than cleared for redevelopment. Samuel R. Delany's book Times Square Red, Times Square Blue relies heavily on The Death and Life of Great American Cities in its analysis of the nature of social relations within the realm of urban studies. Jane Jacobs Days After the death of Jacobs in April 2006, New York City Mayor Michael Bloomberg announced a Jane Jacobs Day, held on June 28, 2006. The City of Toronto proclaimed her birthday the following year, May 4, 2007, as Jane Jacobs Day. Jane's Walks In connection with Jane Jacobs Day in Toronto, two dozen free neighborhood walks in the city were offered that weekend (5 May 2007) as an active memorial to Jacobs, and they were dubbed Jane's Walks. Later, a Jane's Walk event was held in New York on September 29–30, 2007. In 2008, the event spread to eight cities and towns throughout Canada, and by 2016, Jane's Walks were taking place in 212 cities in 36 countries, on six continents. The interpretive walks typically apply ideas Jacobs identified or espoused to local areas, which are explored on foot and sometimes by bicycle. The walks normally take place in early May, on or close to her May 4 birth anniversary. Walks are organized and led by local volunteers, coordinated by a headquarters office in Toronto. There are more than 200 walks offered in Toronto, alone, in 2016, taking place on May 6, 7, and 8. Exhibitions In 2016, to mark the hundredth birth anniversary of Jane Jacobs, a Toronto gallery staged "Jane at Home", an exhibition running from April 29-May 8. Curated by Jane's son, Jim Jacobs, it offered glimpses of her home life, where she also worked. Her Toronto living room was represented, based on the one at her Albany Avenue house in The Annex, where she often spoke with noted thinkers and political leaders including Marshall McLuhan, Paul Martin, and the Queen of the Netherlands. On display were her typewriter, original manuscripts, rediscovered photographs demonstrating her distinctive styles, and personal mementos. The exhibit included furniture from previous homes in New York (her dining room is set up) and from Scranton, Pennsylvania.Jane at Home , Urbanspace Gallery, Toronto, 2016 In 2007, the Municipal Art Society of New York partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York," which opened at the society in September that year. The exhibit aimed to educate the public on her writings and activism and used tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication included essays and articles by such architecture critics, artists, activists, and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors participated in a series of panel discussions on "Jane Jacobs and the Future of New York". Jane Jacobs Medal As a tribute to Jacobs, the Rockefeller Foundation, which had awarded grants to Jacobs in the 1950s and 1960s, announced on February 9, 2007, the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City". Recipients include: Barry Benepe, co-founder of the New York City Green Market program and a founding member of Transportation Alternatives, was awarded with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize in September 2007. The inaugural Jane Jacobs Medal for New Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization. Peggy Shepard, executive director of West Harlem Environmental Action, received the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, received the award for New Ideas and Activism. Both women received their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City. Damaris Reyes, executive director of Good Old Lower East Side (GOLES), received the 2009 Jane Jacobs Medal for New Ideas and Activism. Richard Kahan, as founder and CEO of the Urban Assembly, which created and manages 22 secondary public schools located in many of the lowest income neighborhoods in New York City, received the 2009 Jane Jacobs Medal for Lifetime Leadership. Both received $100,000, in addition to the medal. The 2010 recipients were Joshua David and Robert Hammond, whose work in establishing the High Line Park atop an unused elevated railroad line, led the foundation to award the 2010 Jane Jacobs Medal for New Ideas and Activism, along with $60,000 to each man. The 2010 Jane Jacobs Medal for Lifetime Leadership was given to Elizabeth Barlow Rogers, for her longtime work as writer, park administrator, and co-founder of Central Park Conservancy. She received $80,000 as well. The Canadian Urban Institute offers an award to honor her, the Jane Jacobs Lifetime Achievement Award, to recognize a person "who has had significant impact on the health of their region consistent with Jane Jacob's belief that successful cities foster a place-based, community-centered approach." The 2011 winner was Eberhard Zeidler, while his daughter, Margie Zeidler, won the 2015 award. In 2012, Anne Golden took the prize "for her long-standing leadership in public policy, her academic work and her varied leadership experience in business, not-for-profit and government sectors." William (Bill) Teron accepted the 2013 award "for his influential career in public policy and passionate advocacy for quality design and commitment to development in the Ottawa area." In 2014, Jack Diamond was recognized for his "contribution to improving the built form and advocacy for cities and the future of the Greater Toronto Area." In April 2014, Spacing was appointed the stewards of the Jane Jacobs Prize. Spacing, winners of the prize in 2010, has continued to provide the award with a new life and new ways of promoting (and finding) the winners. Other honors Jane Jacobs Way, West Village, New York City (Hudson Street and Eleventh Street, New York, New York) Jane Jacobs Park, 11 Wellesley Street West, Toronto (construction began in 2016) Jane Jacobs sculptural chairs, Victoria Memorial Square (St. John's Square), Toronto Jane Jacobs Toronto Legacy Plaque, 69 Albany Avenue, Toronto Jacobs' Ladder, rose bushes dedicated by Grassroots Albany (neighbors) in 1997, Toronto Jane Jacobs Street, Mount Pleasant, South Carolina Jane Jacobs Street (Village of Cheshire) Black Mountain, North Carolina a Google Doodle marked the 100th anniversary of Jacobs's birth, on May 4, 2016, and was featured on Google's homepage in 15 countries on four continents a conference room at the offices of the New Economics Foundation in London is named in honor of Jacobs Jacobs received the second Vincent Scully Prize from the National Building Museum in 2000. Jacobs is the subject of the 2017 documentary film Citizen Jane: Battle for the City, which depicts her victories over Robert Moses and her philosophy of urban design. In popular culture A fictionalized version of her is played by Alison Smith in a season 1 episode of the Amazon series The Marvelous Mrs. Maisel. The community organizer played by Cherry Jones in Motherless Brooklyn has drawn comparisons to Jane Jacobs. The director, Edward Norton, has clarified that the composite character was partially based on Jacobs, but more so on Hortense Gabel who was active a decade earlier. The URL of the Facebook group New Urbanist Memes for Transit-Oriented Teens (NUMTOT) is whatwouldjanejacobsdo. Criticism The planners and developers she fought against to preserve the West Village were among those who initially criticized her ideas. Robert Moses has generally been identified as her arch-rival during this period. Since then, Jacobs's ideas have been analysed many times, often in regard to the outcomes that their influences have produced.Glaeser, Edward L. (2010) Taller Buildings, Cheaper Homes. The New York Times, 4 May 2010 6:02 amOuroussoff, Nicolai (2006) Outgrowing Jane Jacobs and Her New York. The New York Times, Published 30 April 2006Bratishenko, Lev (2016) Jane Jacobs's Tunnel Vision Why our cities need less Jane Jacobs. Literary Review of Canada, October 2016 In places such as the West Village, the factors that she argued would maintain economic and cultural diversity have led instead to gentrification and some of the most expensive real estate in the world. Her family's conversion of an old candy shop into a home is an example of the gentrifying trend that would continue under the influence of Jacobs's ideas. Gentrification also was caused, however, by "the completely unexpected influx of affluent residents back into the inner city". The extent to which her ideas facilitated this phenomenon was at the time unimaginable. For example, she advocated the preservation of older buildings specifically because their lack of economic value made them affordable for poor people. In this respect, she saw them as "guarantors of social diversity". That many of these older structures have increased in economic value solely due to their age was implausible in 1961. Issues of gentrification have dominated criticism of Jane Jacobs's planning ideas. Economist Tyler Cowen has criticized her ideas for not addressing problems of scale or infrastructure, and suggests that economists disagree with some of her approaches to development. For example, although her ideas of planning were praised at times as "universal", they are now thought inapplicable when a city grows from one million to ten million (as has happened many times in developing nations). Such arguments suggest that her ideas apply only to cities with similar issues to those of New York, where Jacobs developed many of them. Works Jane Jacobs spent her life studying cities. Her books include: The Death and Life of Great American Cities The Death and Life of Great American Cities is her single-most influential book and, possibly, the most influential book on urban planning and cities. Published in 1961, this book was widely read by both planning professionals and the general public. The book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. In the book, she celebrates the diversity and complexity of old-mixed use neighborhoods while lamenting the monotony and sterility of modern planning. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and she frequently cited New York City's Greenwich Village as an example of a vibrant urban community. Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, although Caro does not mention Jacobs by name in the book despite Jacobs's battles with Moses over his proposed Lower Manhattan Expressway. Caro reportedly cut a chapter about Jacobs due to his book's length. Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and anecdotes. The Economy of Cities The thesis of this book is that cities are the primary drivers of economic development. Her main argument is that explosive economic growth derives from urban import replacement. Import replacement is the process of producing goods locally that formerly were imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased production is subsequently exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth. In an interview with Bill Steigerwald in Reason Magazine, Jacobs said that if she is remembered for being a great intellectual she will be remembered not for her work concerning city planning, but for the discovery of import replacement. Critics erroneously claim that her ideas parrot the idea of import substitution advanced earlier by scholars such as Andre Gunder Frank. Import substitution was a national economic theory implying that if a nation substituted its imports with national production, the nation would become wealthier, whereas Jacob's idea is entirely about cities and could be called urban import substitution. However, even this would lead to confusion since in practice, import substitution in India and Latin America were government subsidized and mandated, whereas Jacobs's concept of import replacement is a free market process of discovery and division of labor within a city. In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition. Another interpretation of history, generally and erroneously considered to be contradictory to Jacobs's is supported by Marxist archaeologist Vere Gordon Childe and in recent times, by another historical materialist Charles Keith Maisels These writers argue that agriculture preceded cities. The apparent opposition between Childe and Jacobs theories rests in their definition of 'city', 'civilization', or 'urban'. Childe, like other materialists such as Maisels or Henri Lefebvre defines 'urban' or 'civilization' as Synoecism—as a literate, socially stratified, monolithic political community, whereas, as one can see from The Economy of Cities or from Cities and the Wealth of Nations, Jacobs defines the city purely along the lines of geographically dense trade giving way to entrepreneurial discovery and subsequent improvements in the division of labor. Without the requirements of literacy, monumental building, or the signs of specialized civil and armed forces, 'cities' can be accurately be interpreted to exists thousands of years before when Childe and Maisels place them. However, the Jacobs definition is supposition, since 'city' is defined simply as a large town or "a large human settlement" indicating permanence. The earliest remains of mankind uncovered by archaeologists do not give us more information other than that they were hunter-gatherers as there is no evidence yet of farming or settlement, implying nomadic lifestyles until further discoveries are found. The Question of Separatism: Quebec and the Struggle over Sovereignty The Question of Separatism incorporated and expanded Jacobs's presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. It was published in 1980 and reprinted in 2011 with a previously-unpublished 2005 interview with Robin Philpot on the subject in which she evokes the relative overlooking of that book among her usual readership. This was the first time Jacobs was requested to discuss it in an interview. Columnist Richard Gwyn advanced that while not openly criticizing her, English-speaking Canadians readers thought she did not understood how Canadian politics worked and that she was not being helpful in a time of distress for national unity (the 1980 referendum was just defeated by a vote of 60%). The Question of Separatism was also not mentioned in the bibliography of her 2006 obituary in The Globe and Mail. Jacobs's book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway's secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada's historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example, Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories. The relevant public views of René Lévesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed, an example being their failure to recognize that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada, an issue that is central to her book. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that ultimately, such a need can never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive. Cities and the Wealth of Nations Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, although it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs argues that it is not the nation-state, rather it is the city that is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all. Systems of Survival Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgments related to work, collected and sorted them to find that they fit two patterns of moral behavior that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time. It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her system are applicable to both syndromes. Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York subway police are paid bonuses here – reinterpreted slightly as a part of the larger analysis. The Nature of Economies The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p. ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiation and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p. 82). Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems. Jacobs's characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p. 86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p. 119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p. 137). The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds. One particularly interesting insight is the creation of "something from nothing" – an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work". Dark Age Ahead Published in 2004 by Random House, Dark Age Ahead posits Jacobs's argument that "North American" civilization shows signs of a spiral decline comparable to the collapse of the Roman empire. Her discussion focuses on "five pillars of our culture that we depend on to stand firm", which can be summarized as the nuclear family and community; quality in education; free thought in science; representational government and responsible taxes; and corporate and professional accountability. As the title of this book suggests, Jacobs's outlook is far more pessimistic than that of her previous works. However, in the conclusion she admits: "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true." While Jacobs idealized U.S. democracy, Dark Age Ahead echoes the skepticism and disappointment that led to her emigration to Canada in 1968. Later, she would indicate that North American cultures, among others, were grounded in a "plantation mentality" that was culturally and ecologically unsustainable. Orthodox urbanism Jane Jacobs asserts in her work, The Death and Life of Great American Cities, that the sources of orthodox urbanism are: Garden Cities of Tomorrow, Ebenezer Howard The Culture of Cities, Lewis Mumford Cities in Evolution, Sir Patrick Geddes Modern Housing, Catherine Bauer Toward New Towns for America, Clarence Stein Nothing Gained by Overcrowding, Sir Raymond Unwin The City of Tomorrow and Its Planning, Le Corbusier Writings Constitutional chaff; rejected suggestions of the Constitutional Convention of 1787, with explanatory argument Compiled by Jane Butzner, (1941) Columbia University Press; Compiled by Jane Jacobs (Née Butzner), Reprinted 1970 by Kennikat Press, Port Washington, New York. The Death and Life of Great American Cities (1961) New York: Random House. The Economy of Cities (1969) The Question of Separatism: Quebec and the Struggle over Sovereignty (1980 Random House and 2011 Baraka Books) Cities and the Wealth of Nations (1985) The Girl on the Hat (Children's Book Illustrated by Karen Reczuch), (June 1990) Oxford University Press. Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics (1992) A Schoolteacher in Old Alaska – The Story of Hannah Breece (1995) Random House of Canada. The Nature of Economies (2000) New York: Random House, The Modern Library. Dark Age Ahead (2004) Vital Little Plans: The Short Works of Jane Jacobs'' (2016) New York: Random House. See also David Crombie Fred Gardiner Innovation Economics Urban secession Urban vitality References Bibliography Further reading External links Jane Jacobs's Order of Canada Citation Jane Jacobs's Papers at John J. Burns Library, Boston College Jane Jacobs Oral History, 1997 Greenwich Village Society for Historic Preservation Jane Jacobs's Legacy, City Journal online, July 31, 2009 1916 births 2006 deaths American architecture writers Naturalized citizens of Canada Tax resisters Women urban planners Anti-road protest Canadian architecture writers Canadian women non-fiction writers Canadian social commentators Interstate 78 Members of the Order of Ontario Moral philosophers Officers of the Order of Canada People from Greenwich Village Writers from Scranton, Pennsylvania Radical centrist writers Urban theorists Environmental economists Writers from Toronto Columbia University School of General Studies alumni American emigrants to Canada Women's page journalists

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What state is this in

What state is New York City in?

Jane Jacobs

In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. CANNOTANSWER

New York

{{Infobox person |image = Jane Jacobs.jpg |imagesize = |caption = Jacobs as chair of a Greenwich Village civic group at a 1961 press conference |name = Jane Jacobs |honorific_suffix = |birth_name = Jane Butzner |birth_date = |birth_place = Scranton, Pennsylvania, U.S. |death_date = |death_place = Toronto, Ontario, Canada |education = Graduate of Scranton Central High School; two years of undergraduate studies at Columbia University |occupation = Journalist, author, urban theorist |employer = Amerika, Architectural Forum |notable_works = The Death and Life of Great American Cities |organization = Joint Committee to Stop the Lower Manhattan Expressway, Stop Spadina Save Our City Coordinating Committee Carlos Moreno<ref>Willsher, Kim, Paris mayor unveils '15-minute city' plan in re-election campaign, The Guardian, Friday, February 7, 2020</ref> |awards = OC, OOnt, Vincent Scully Prize, National Building Museum |spouse = Robert Jacobs |children = Ned Jacobs, James Jacobs, Mary Burgin Jacobs }} Jane Jacobs (née Butzner; 4 May 1916 – 25 April 2006) was an American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city-dwellers. Jacobs organized grassroots efforts to protect neighborhoods from urban renewal and slum clearance – in particular plans by Robert Moses to overhaul her own Greenwich Village neighborhood. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, which would have passed directly through an area of Manhattan that later became known as SoHo, as well as part of Little Italy and Chinatown. She was arrested in 1968 for inciting a crowd at a public hearing on that project. After moving to Toronto in 1968, she joined the opposition to the Spadina Expressway and the associated network of expressways in Toronto that were planned and under construction. As a woman and a writer who criticized experts in the male-dominated field of urban planning, Jacobs endured scorn from established figures. Routinely, she was described first as a housewife, as she did not have a college degree or any formal training in urban planning; as a result, her lack of credentials was seized upon as grounds for criticism. However, the influence of her concepts eventually was acknowledged by highly respected professionals such as Richard Florida and Robert Lucas. Early years Jacobs was born Jane Isabel Butzner in Scranton, Pennsylvania, the daughter of Bess Robison Butzner, a former teacher and nurse and John Decker Butzner, a physician. They were a Protestant family in a heavily Roman Catholic town. Her brother, John Decker Butzner, Jr., served as a judge on the United States Court of Appeals for the Fourth Circuit. After graduation from Scranton High School, she worked for a year as the unpaid assistant to the women's page editor at the Scranton Tribune. New York City In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which deviated some from the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in Manhattan, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. Career After attending Columbia University's School of General Studies for two years, Butzner found a job at Iron Age magazine. Her 1943 article on economic decline in Scranton was well publicized and led the Murray Corporation of America to locate a warplane factory there. Encouraged by this success, Butzner petitioned the War Production Board to support more operations in Scranton. Experiencing job discrimination at Iron Age, she also advocated for equal pay for women and for the right of workers to unionize. Amerika She became a feature writer for the Office of War Information and then a reporter for Amerika, a publication of the U.S. State Department in the Russian language. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson Street. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect. The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard. Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On 25 March 1952, Jacobs delivered her response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said: The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe... Architectural Forum Jacobs left Amerika in 1952 when it announced its relocation to Washington, D.C. She then found a well-paying job at Architectural Forum, published by Henry Luce of Time Inc. She was hired as an associate editor. After early success in that position, Jacobs began to take assignments on urban planning and "urban blight". In 1954, she was assigned to cover a development in Philadelphia designed by Edmund Bacon. Although her editors expected a positive story, Jacobs criticized Bacon's project, reacting against its lack of concern for the poor African Americans who were directly affected. When Bacon showed Jacobs examples of undeveloped and developed blocks, she determined that "development" seemed to end community life on the street. When Jacobs returned to the offices of Architectural Forum, she began to question the 1950s consensus on urban planning. In 1955, Jacobs met William Kirk, an Episcopal minister who worked in East Harlem. Kirk came to the Architectural Forum offices to describe the impact that "revitalization" had on East Harlem, and he introduced Jacobs to the neighborhood. In 1956, while standing in for Douglas Haskell of Architectural Forum, Jacobs delivered a lecture at Harvard University. She addressed leading architects, urban planners, and intellectuals (including Lewis Mumford), speaking on the topic of East Harlem. She urged this audience to "respect – in the deepest sense – strips of chaos that have a weird wisdom of their own not yet encompassed in our concept of urban order." Contrary to her expectations, the talk was received with enthusiasm, but it also marked her as a threat to established urban planners, real estate owners, and developers. Architectural Forum printed the speech that year, along with photographs of East Harlem. Rockefeller Foundation and Death and Life of Great American Cities After reading her Harvard speech, William H. Whyte invited Jacobs to write an article for Fortune magazine. The resulting piece, "Downtown Is for People", appeared in a 1958 issue of Fortune, and marked her first public criticism of Robert Moses. Her criticism of the Lincoln Center was not popular with supporters of urban renewal at Architectural Forum and Fortune. C.D. Jackson, the publisher of Fortune, was outraged and over the telephone, demanded of Whyte: "Who is this crazy dame?" The Fortune article brought Jacobs to the attention of Chadbourne Gilpatric, then associate director of the Humanities Division at the Rockefeller Foundation. The foundation had moved aggressively into urban topics, with a recent award to the Massachusetts Institute of Technology for studies of urban aesthetics that would culminate in the publication of Kevin A. Lynch's Image of the City. In May 1958, Gilpatric invited Jacobs to begin serving as a reviewer for grant proposals. Later that year, the Rockefeller Foundation awarded a grant to Jacobs to produce a critical study of city planning and urban life in the U.S. (From the mid-1950s to the mid-1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee.) Gilpatric encouraged Jacobs to "explor[e] the field of urban design to look for ideas and actions which may improve thinking on how the design of cities might better serve urban life, including cultural and humane value." Affiliating with The New School (then called The New School for Social Research), she spent three years conducting research and writing drafts. In 1961, Random House published the result: The Death and Life of Great American Cities.The Death and Life of Great American Cities remains one of the most influential books in the history of American city planning. She coined the terms "social capital", "mixed primary uses", and "eyes on the street", which were adopted professionally in urban design, sociology, and many other fields. Jacobs painted a devastating picture of the profession of city planning, labeling it a pseudoscience. This angered the male-dominated urban planning profession. Jacobs was criticized with ad hominem attacks, being called a "militant dame" and a "housewife": an amateur who had no right to interfere with an established discipline. One planner dismissed Jacobs's book as "bitter coffee-house rambling". Robert Moses, sent a copy, called it "intemperate and also libelous... Sell this junk to someone else." Later, her book was criticized from the left for leaving out race and openly endorsing gentrification, which Jacobs referred to as "unslumming". In 1962, she resigned her position at Architectural Forum to become a full-time author and concentrate on raising her children. In other political activities she became an opponent of the Vietnam War, marched on the Pentagon in October 1967, and criticized the construction of the World Trade Center as a disaster for Manhattan's waterfront. Struggle for Greenwich Village During the 1950s and 1960s, her home neighborhood of Greenwich Village was being transformed by city and state efforts to build housing (see, for example, Jacobs's 1961 fight to build the West Village Houses in lieu of large apartment houses), private developers, the expansion of New York University, and by the urban renewal plans of Robert Moses. Moses' plan, funded as "slum clearance" by Title I of the Housing Act of 1949, also called for several blocks to be razed and replaced with upscale high-rises. The plan forced 132 families out of their homes and displaced 1,000 small businesses—the result was Washington Square Village. As part of his efforts to revitalize the area, Moses had proposed the extension of Fifth Avenue through Washington Square Park in 1935. In the face of community opposition, Moses had shelved the project, but revived the idea in the 1950s. Moses argued that the Fifth Avenue extension would improve the flow of traffic through the neighborhood and provide access to the planned Lower Manhattan Expressway (LOMEX), which would connect the Manhattan Bridge and Williamsburg Bridge with the Holland Tunnel. In response, local activist Shirley Hayes created the "Committee to Save Washington Square Park", a coalition of dozens of local neighborhood groups that opposed the roadway extension. Raymond S. Rubinow eventually took over the organization, changing its name to the "Joint Emergency Committee to Close Washington Square to Traffic". Jacobs had joined the committee under Hayes, but she took a more prominent role under Rubinow, reaching out to media outlets such as The Village Voice, which provided more sympathetic coverage than The New York Times. The committee gained the support of Margaret Mead, Eleanor Roosevelt, Lewis Mumford, Charles Abrams, and William H. Whyte, as well as Carmine De Sapio, a Greenwich Village resident and influential Democratic leader. De Sapio's involvement proved decisive. On 25 June 1958, the city closed Washington Square Park to traffic, and the joint committee held a ribbon tying (not cutting) ceremony. Plans for LOMEX expressway continued despite growing community opposition in areas such as Little Italy. In the 1960s, Jacobs chaired the Joint Committee to Stop the Lower Manhattan Expressway. The New York Times was sympathetic to Moses, while The Village Voice covered community rallies and advocated against the expressway. Jacobs continued to fight the expressway when plans resurfaced in 1962, 1965, and 1968, and she became a local hero for her opposition to the project. She was arrested by a plainclothes police officer on April 10, 1968, at a public hearing during which the crowd had charged the stage and destroyed the stenographer's notes. She was accused of inciting a riot, criminal mischief, and obstructing public administration. After months of trials conducted in New York City (to which Jacobs commuted from Toronto), her charge was reduced to disorderly conduct.New York: A Documentary Film devoted an hour of the eight-part, seventeen-and-a-half-hour series to the battle between Moses and Jacobs. Robert Caro's biography of Moses, The Power Broker, gives only passing mention to this event, however, despite Jacobs's strong influence on Caro. In 2017, Caro told an interviewer about the difficulty in cutting more than 300,000 words from his initial manuscript: "The section that I wrote on Jane Jacobs disappeared. To this day, when someone says: 'There's hardly a mention of Jane Jacobs,' I think, 'But I wrote a lot about her.' Every time I'm asked about that, I have this sick feeling." Life in Toronto Soon after her arrest in 1968, Jacobs moved to Toronto, eventually settling at 69 Albany Avenue in The Annex from 1971 until her death in 2006. She decided to leave the U.S. in part because she opposed the Vietnam War, she worried about the fate of her two draft-age sons, and she did not want to continue fighting the New York City government. She and her husband chose Toronto because it was pleasant and offered employment opportunities, and they moved to an area of Toronto that included so many Americans avoiding the draft that it was called the "American ghetto". She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether cities were being built for people or for cars. She was arrested twice during demonstrations. She also had considerable influence on the regeneration of the St. Lawrence neighborhood, a housing project regarded as a major success. She became a Canadian citizen in 1974 and later, she told writer James Howard Kunstler that dual citizenship was not possible at the time, implying that her U.S. citizenship was lost. In 1980, she offered a more urban perspective on Quebec's sovereignty in her book, The Question of Separatism: Quebec and the Struggle over Separation. Jacobs was an advocate of a Province of Toronto to separate the city proper from Ontario. Jacobs said, "Cities, to thrive in the twenty-first century, must separate themselves politically from their surrounding areas." She was selected to be an officer of the Order of Canada in 1996 for her seminal writings and thought-provoking commentaries on urban development. The community and urban sociology section of the American Sociological Association awarded her its Outstanding Lifetime Contribution award in 2002. In 1997, the city government of Toronto sponsored a conference entitled, "Jane Jacobs: Ideas That Matter", which led to a book by the same name. At the end of the conference, the Jane Jacobs Prize was created. It includes an annual stipend of $5,000 for three years to be given to "celebrate Toronto's original, unsung heroes – by seeking out citizens who are engaged in activities that contribute to the city's vitality". Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and she was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a longshot. During the mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city waterfront to Toronto City Centre Airport (TCCA). Following the election, the Toronto city council's earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport was still in operation as of 2019. In lieu of the bridge, a pedestrian tunnel broke ground in March 2012. The tunnel opened on 30 July 2015. Jacobs also was active in a campaign against a plan of Royal St. George's College (an established school very close to the Jacobs residence in Toronto's Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but that the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school's plans, the decision later was reversed – and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing. She also had an influence on Vancouver's urban planning. Jacobs has been called "the mother of Vancouverism", referring to that city's use of her "density done well" philosophy. Jacobs died in Toronto Western Hospital aged 89, on 25 April 2006, apparently of a stroke. She was survived by a brother, James Butzner (d. 2009); a daughter, Burgin Jacobs, her sons, James and Ned of Vancouver, and by two grandchildren and two great-grandchildren. Upon her death her family's statement noted: "What's important is not that she died but that she lived, and that her life's work has greatly influenced the way we think. Please remember her by reading her books and implementing her ideas". Legacy Jacobs is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. She has been characterized as a major influence on decentralist and radical centrist thought. She discussed her legacy in an interview with Reason magazine. While Jacobs saw her greatest legacy to be her contributions to economic theory, it is in the realm of urban planning that she has had her most extensive effect. Her observations about the ways in which cities function revolutionized the urban planning profession and discredited many accepted planning models that had dominated mid-century planning. The influential Harvard Economist Edward Glaeser, known for his work on urban studies, acknowledged that Jane Jacobs (1960s) had been prescient in attacking Moses for "replacing well-functioning neighborhoods with Le Corbusier-inspired towers". Glaeser agreed that these housing projects proved to be Moses' greatest failures, "Moses spent millions and evicted tens of thousands to create buildings that became centers of crime, poverty, and despair." She also was famous for introducing concepts such as the "Ballet of the Sidewalk" and "Eyes on the Street", a reference to what would later be known as natural surveillance. The concept had a huge influence on planners and architects such as Oscar Newman, who prepared the idea through a series of studies that would culminate in his defensible space theory. The work of Jacobs and Newman would go on to affect American housing policy through the HOPE VI Program, an effort by the United States Department of Housing and Urban Development to demolish the high-rise public housing projects so reviled by Jacobs and to replace them with low-rise, mixed-income housing. Throughout her life, Jacobs fought to alter the way in which city development was approached. By arguing that cities were living beings and ecosystems, she advocated ideas such as "mixed use" development and bottom-up planning. Furthermore, her harsh criticisms of "slum clearing" and "high-rise housing" projects were instrumental in discrediting these once universally supported planning practices. Jacobs is remembered as being an advocate for the mindful development of cities, and for leaving "a legacy of empowerment for citizens to trust their common sense and become advocates for their place". Despite the fact that Jacobs mainly focused on New York City, her arguments have been identified as universal. For instance, her opposition against the demolition of urban neighborhoods for projects of urban renewal had "special resonance" in Melbourne, Australia. In Melbourne in the 1960s, resident associations fought against large-scale high-rise housing projects of the Housing Commission of Victoria, which they argued had little regard for the impact on local communities. Jacobs fought an uphill battle against dominant trends of planning. Despite the United States remaining very much a suburban nation, the work of Jacobs has contributed to city living being rehabilitated and revitalized. Because of her ideas, today, many distressed urban neighborhoods are more likely to be gentrified than cleared for redevelopment. Samuel R. Delany's book Times Square Red, Times Square Blue relies heavily on The Death and Life of Great American Cities in its analysis of the nature of social relations within the realm of urban studies. Jane Jacobs Days After the death of Jacobs in April 2006, New York City Mayor Michael Bloomberg announced a Jane Jacobs Day, held on June 28, 2006. The City of Toronto proclaimed her birthday the following year, May 4, 2007, as Jane Jacobs Day. Jane's Walks In connection with Jane Jacobs Day in Toronto, two dozen free neighborhood walks in the city were offered that weekend (5 May 2007) as an active memorial to Jacobs, and they were dubbed Jane's Walks. Later, a Jane's Walk event was held in New York on September 29–30, 2007. In 2008, the event spread to eight cities and towns throughout Canada, and by 2016, Jane's Walks were taking place in 212 cities in 36 countries, on six continents. The interpretive walks typically apply ideas Jacobs identified or espoused to local areas, which are explored on foot and sometimes by bicycle. The walks normally take place in early May, on or close to her May 4 birth anniversary. Walks are organized and led by local volunteers, coordinated by a headquarters office in Toronto. There are more than 200 walks offered in Toronto, alone, in 2016, taking place on May 6, 7, and 8. Exhibitions In 2016, to mark the hundredth birth anniversary of Jane Jacobs, a Toronto gallery staged "Jane at Home", an exhibition running from April 29-May 8. Curated by Jane's son, Jim Jacobs, it offered glimpses of her home life, where she also worked. Her Toronto living room was represented, based on the one at her Albany Avenue house in The Annex, where she often spoke with noted thinkers and political leaders including Marshall McLuhan, Paul Martin, and the Queen of the Netherlands. On display were her typewriter, original manuscripts, rediscovered photographs demonstrating her distinctive styles, and personal mementos. The exhibit included furniture from previous homes in New York (her dining room is set up) and from Scranton, Pennsylvania.Jane at Home , Urbanspace Gallery, Toronto, 2016 In 2007, the Municipal Art Society of New York partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York," which opened at the society in September that year. The exhibit aimed to educate the public on her writings and activism and used tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication included essays and articles by such architecture critics, artists, activists, and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors participated in a series of panel discussions on "Jane Jacobs and the Future of New York". Jane Jacobs Medal As a tribute to Jacobs, the Rockefeller Foundation, which had awarded grants to Jacobs in the 1950s and 1960s, announced on February 9, 2007, the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City". Recipients include: Barry Benepe, co-founder of the New York City Green Market program and a founding member of Transportation Alternatives, was awarded with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize in September 2007. The inaugural Jane Jacobs Medal for New Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization. Peggy Shepard, executive director of West Harlem Environmental Action, received the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, received the award for New Ideas and Activism. Both women received their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City. Damaris Reyes, executive director of Good Old Lower East Side (GOLES), received the 2009 Jane Jacobs Medal for New Ideas and Activism. Richard Kahan, as founder and CEO of the Urban Assembly, which created and manages 22 secondary public schools located in many of the lowest income neighborhoods in New York City, received the 2009 Jane Jacobs Medal for Lifetime Leadership. Both received $100,000, in addition to the medal. The 2010 recipients were Joshua David and Robert Hammond, whose work in establishing the High Line Park atop an unused elevated railroad line, led the foundation to award the 2010 Jane Jacobs Medal for New Ideas and Activism, along with $60,000 to each man. The 2010 Jane Jacobs Medal for Lifetime Leadership was given to Elizabeth Barlow Rogers, for her longtime work as writer, park administrator, and co-founder of Central Park Conservancy. She received $80,000 as well. The Canadian Urban Institute offers an award to honor her, the Jane Jacobs Lifetime Achievement Award, to recognize a person "who has had significant impact on the health of their region consistent with Jane Jacob's belief that successful cities foster a place-based, community-centered approach." The 2011 winner was Eberhard Zeidler, while his daughter, Margie Zeidler, won the 2015 award. In 2012, Anne Golden took the prize "for her long-standing leadership in public policy, her academic work and her varied leadership experience in business, not-for-profit and government sectors." William (Bill) Teron accepted the 2013 award "for his influential career in public policy and passionate advocacy for quality design and commitment to development in the Ottawa area." In 2014, Jack Diamond was recognized for his "contribution to improving the built form and advocacy for cities and the future of the Greater Toronto Area." In April 2014, Spacing was appointed the stewards of the Jane Jacobs Prize. Spacing, winners of the prize in 2010, has continued to provide the award with a new life and new ways of promoting (and finding) the winners. Other honors Jane Jacobs Way, West Village, New York City (Hudson Street and Eleventh Street, New York, New York) Jane Jacobs Park, 11 Wellesley Street West, Toronto (construction began in 2016) Jane Jacobs sculptural chairs, Victoria Memorial Square (St. John's Square), Toronto Jane Jacobs Toronto Legacy Plaque, 69 Albany Avenue, Toronto Jacobs' Ladder, rose bushes dedicated by Grassroots Albany (neighbors) in 1997, Toronto Jane Jacobs Street, Mount Pleasant, South Carolina Jane Jacobs Street (Village of Cheshire) Black Mountain, North Carolina a Google Doodle marked the 100th anniversary of Jacobs's birth, on May 4, 2016, and was featured on Google's homepage in 15 countries on four continents a conference room at the offices of the New Economics Foundation in London is named in honor of Jacobs Jacobs received the second Vincent Scully Prize from the National Building Museum in 2000. Jacobs is the subject of the 2017 documentary film Citizen Jane: Battle for the City, which depicts her victories over Robert Moses and her philosophy of urban design. In popular culture A fictionalized version of her is played by Alison Smith in a season 1 episode of the Amazon series The Marvelous Mrs. Maisel. The community organizer played by Cherry Jones in Motherless Brooklyn has drawn comparisons to Jane Jacobs. The director, Edward Norton, has clarified that the composite character was partially based on Jacobs, but more so on Hortense Gabel who was active a decade earlier. The URL of the Facebook group New Urbanist Memes for Transit-Oriented Teens (NUMTOT) is whatwouldjanejacobsdo. Criticism The planners and developers she fought against to preserve the West Village were among those who initially criticized her ideas. Robert Moses has generally been identified as her arch-rival during this period. Since then, Jacobs's ideas have been analysed many times, often in regard to the outcomes that their influences have produced.Glaeser, Edward L. (2010) Taller Buildings, Cheaper Homes. The New York Times, 4 May 2010 6:02 amOuroussoff, Nicolai (2006) Outgrowing Jane Jacobs and Her New York. The New York Times, Published 30 April 2006Bratishenko, Lev (2016) Jane Jacobs's Tunnel Vision Why our cities need less Jane Jacobs. Literary Review of Canada, October 2016 In places such as the West Village, the factors that she argued would maintain economic and cultural diversity have led instead to gentrification and some of the most expensive real estate in the world. Her family's conversion of an old candy shop into a home is an example of the gentrifying trend that would continue under the influence of Jacobs's ideas. Gentrification also was caused, however, by "the completely unexpected influx of affluent residents back into the inner city". The extent to which her ideas facilitated this phenomenon was at the time unimaginable. For example, she advocated the preservation of older buildings specifically because their lack of economic value made them affordable for poor people. In this respect, she saw them as "guarantors of social diversity". That many of these older structures have increased in economic value solely due to their age was implausible in 1961. Issues of gentrification have dominated criticism of Jane Jacobs's planning ideas. Economist Tyler Cowen has criticized her ideas for not addressing problems of scale or infrastructure, and suggests that economists disagree with some of her approaches to development. For example, although her ideas of planning were praised at times as "universal", they are now thought inapplicable when a city grows from one million to ten million (as has happened many times in developing nations). Such arguments suggest that her ideas apply only to cities with similar issues to those of New York, where Jacobs developed many of them. Works Jane Jacobs spent her life studying cities. Her books include: The Death and Life of Great American Cities The Death and Life of Great American Cities is her single-most influential book and, possibly, the most influential book on urban planning and cities. Published in 1961, this book was widely read by both planning professionals and the general public. The book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. In the book, she celebrates the diversity and complexity of old-mixed use neighborhoods while lamenting the monotony and sterility of modern planning. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and she frequently cited New York City's Greenwich Village as an example of a vibrant urban community. Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, although Caro does not mention Jacobs by name in the book despite Jacobs's battles with Moses over his proposed Lower Manhattan Expressway. Caro reportedly cut a chapter about Jacobs due to his book's length. Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and anecdotes. The Economy of Cities The thesis of this book is that cities are the primary drivers of economic development. Her main argument is that explosive economic growth derives from urban import replacement. Import replacement is the process of producing goods locally that formerly were imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased production is subsequently exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth. In an interview with Bill Steigerwald in Reason Magazine, Jacobs said that if she is remembered for being a great intellectual she will be remembered not for her work concerning city planning, but for the discovery of import replacement. Critics erroneously claim that her ideas parrot the idea of import substitution advanced earlier by scholars such as Andre Gunder Frank. Import substitution was a national economic theory implying that if a nation substituted its imports with national production, the nation would become wealthier, whereas Jacob's idea is entirely about cities and could be called urban import substitution. However, even this would lead to confusion since in practice, import substitution in India and Latin America were government subsidized and mandated, whereas Jacobs's concept of import replacement is a free market process of discovery and division of labor within a city. In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition. Another interpretation of history, generally and erroneously considered to be contradictory to Jacobs's is supported by Marxist archaeologist Vere Gordon Childe and in recent times, by another historical materialist Charles Keith Maisels These writers argue that agriculture preceded cities. The apparent opposition between Childe and Jacobs theories rests in their definition of 'city', 'civilization', or 'urban'. Childe, like other materialists such as Maisels or Henri Lefebvre defines 'urban' or 'civilization' as Synoecism—as a literate, socially stratified, monolithic political community, whereas, as one can see from The Economy of Cities or from Cities and the Wealth of Nations, Jacobs defines the city purely along the lines of geographically dense trade giving way to entrepreneurial discovery and subsequent improvements in the division of labor. Without the requirements of literacy, monumental building, or the signs of specialized civil and armed forces, 'cities' can be accurately be interpreted to exists thousands of years before when Childe and Maisels place them. However, the Jacobs definition is supposition, since 'city' is defined simply as a large town or "a large human settlement" indicating permanence. The earliest remains of mankind uncovered by archaeologists do not give us more information other than that they were hunter-gatherers as there is no evidence yet of farming or settlement, implying nomadic lifestyles until further discoveries are found. The Question of Separatism: Quebec and the Struggle over Sovereignty The Question of Separatism incorporated and expanded Jacobs's presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. It was published in 1980 and reprinted in 2011 with a previously-unpublished 2005 interview with Robin Philpot on the subject in which she evokes the relative overlooking of that book among her usual readership. This was the first time Jacobs was requested to discuss it in an interview. Columnist Richard Gwyn advanced that while not openly criticizing her, English-speaking Canadians readers thought she did not understood how Canadian politics worked and that she was not being helpful in a time of distress for national unity (the 1980 referendum was just defeated by a vote of 60%). The Question of Separatism was also not mentioned in the bibliography of her 2006 obituary in The Globe and Mail. Jacobs's book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway's secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada's historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example, Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories. The relevant public views of René Lévesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed, an example being their failure to recognize that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada, an issue that is central to her book. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that ultimately, such a need can never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive. Cities and the Wealth of Nations Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, although it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs argues that it is not the nation-state, rather it is the city that is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all. Systems of Survival Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgments related to work, collected and sorted them to find that they fit two patterns of moral behavior that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time. It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her system are applicable to both syndromes. Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York subway police are paid bonuses here – reinterpreted slightly as a part of the larger analysis. The Nature of Economies The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p. ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiation and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p. 82). Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems. Jacobs's characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p. 86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p. 119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p. 137). The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds. One particularly interesting insight is the creation of "something from nothing" – an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work". Dark Age Ahead Published in 2004 by Random House, Dark Age Ahead posits Jacobs's argument that "North American" civilization shows signs of a spiral decline comparable to the collapse of the Roman empire. Her discussion focuses on "five pillars of our culture that we depend on to stand firm", which can be summarized as the nuclear family and community; quality in education; free thought in science; representational government and responsible taxes; and corporate and professional accountability. As the title of this book suggests, Jacobs's outlook is far more pessimistic than that of her previous works. However, in the conclusion she admits: "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true." While Jacobs idealized U.S. democracy, Dark Age Ahead echoes the skepticism and disappointment that led to her emigration to Canada in 1968. Later, she would indicate that North American cultures, among others, were grounded in a "plantation mentality" that was culturally and ecologically unsustainable. Orthodox urbanism Jane Jacobs asserts in her work, The Death and Life of Great American Cities, that the sources of orthodox urbanism are: Garden Cities of Tomorrow, Ebenezer Howard The Culture of Cities, Lewis Mumford Cities in Evolution, Sir Patrick Geddes Modern Housing, Catherine Bauer Toward New Towns for America, Clarence Stein Nothing Gained by Overcrowding, Sir Raymond Unwin The City of Tomorrow and Its Planning, Le Corbusier Writings Constitutional chaff; rejected suggestions of the Constitutional Convention of 1787, with explanatory argument Compiled by Jane Butzner, (1941) Columbia University Press; Compiled by Jane Jacobs (Née Butzner), Reprinted 1970 by Kennikat Press, Port Washington, New York. The Death and Life of Great American Cities (1961) New York: Random House. The Economy of Cities (1969) The Question of Separatism: Quebec and the Struggle over Sovereignty (1980 Random House and 2011 Baraka Books) Cities and the Wealth of Nations (1985) The Girl on the Hat (Children's Book Illustrated by Karen Reczuch), (June 1990) Oxford University Press. Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics (1992) A Schoolteacher in Old Alaska – The Story of Hannah Breece (1995) Random House of Canada. The Nature of Economies (2000) New York: Random House, The Modern Library. Dark Age Ahead (2004) Vital Little Plans: The Short Works of Jane Jacobs'' (2016) New York: Random House. See also David Crombie Fred Gardiner Innovation Economics Urban secession Urban vitality References Bibliography Further reading External links Jane Jacobs's Order of Canada Citation Jane Jacobs's Papers at John J. Burns Library, Boston College Jane Jacobs Oral History, 1997 Greenwich Village Society for Historic Preservation Jane Jacobs's Legacy, City Journal online, July 31, 2009 1916 births 2006 deaths American architecture writers Naturalized citizens of Canada Tax resisters Women urban planners Anti-road protest Canadian architecture writers Canadian women non-fiction writers Canadian social commentators Interstate 78 Members of the Order of Ontario Moral philosophers Officers of the Order of Canada People from Greenwich Village Writers from Scranton, Pennsylvania Radical centrist writers Urban theorists Environmental economists Writers from Toronto Columbia University School of General Studies alumni American emigrants to Canada Women's page journalists

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Who did she move with

Who did Janet Jacobs move with?

Jane Jacobs

In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. CANNOTANSWER

with her sister Betty.

{{Infobox person |image = Jane Jacobs.jpg |imagesize = |caption = Jacobs as chair of a Greenwich Village civic group at a 1961 press conference |name = Jane Jacobs |honorific_suffix = |birth_name = Jane Butzner |birth_date = |birth_place = Scranton, Pennsylvania, U.S. |death_date = |death_place = Toronto, Ontario, Canada |education = Graduate of Scranton Central High School; two years of undergraduate studies at Columbia University |occupation = Journalist, author, urban theorist |employer = Amerika, Architectural Forum |notable_works = The Death and Life of Great American Cities |organization = Joint Committee to Stop the Lower Manhattan Expressway, Stop Spadina Save Our City Coordinating Committee Carlos Moreno<ref>Willsher, Kim, Paris mayor unveils '15-minute city' plan in re-election campaign, The Guardian, Friday, February 7, 2020</ref> |awards = OC, OOnt, Vincent Scully Prize, National Building Museum |spouse = Robert Jacobs |children = Ned Jacobs, James Jacobs, Mary Burgin Jacobs }} Jane Jacobs (née Butzner; 4 May 1916 – 25 April 2006) was an American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city-dwellers. Jacobs organized grassroots efforts to protect neighborhoods from urban renewal and slum clearance – in particular plans by Robert Moses to overhaul her own Greenwich Village neighborhood. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, which would have passed directly through an area of Manhattan that later became known as SoHo, as well as part of Little Italy and Chinatown. She was arrested in 1968 for inciting a crowd at a public hearing on that project. After moving to Toronto in 1968, she joined the opposition to the Spadina Expressway and the associated network of expressways in Toronto that were planned and under construction. As a woman and a writer who criticized experts in the male-dominated field of urban planning, Jacobs endured scorn from established figures. Routinely, she was described first as a housewife, as she did not have a college degree or any formal training in urban planning; as a result, her lack of credentials was seized upon as grounds for criticism. However, the influence of her concepts eventually was acknowledged by highly respected professionals such as Richard Florida and Robert Lucas. Early years Jacobs was born Jane Isabel Butzner in Scranton, Pennsylvania, the daughter of Bess Robison Butzner, a former teacher and nurse and John Decker Butzner, a physician. They were a Protestant family in a heavily Roman Catholic town. Her brother, John Decker Butzner, Jr., served as a judge on the United States Court of Appeals for the Fourth Circuit. After graduation from Scranton High School, she worked for a year as the unpaid assistant to the women's page editor at the Scranton Tribune. New York City In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which deviated some from the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in Manhattan, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. Career After attending Columbia University's School of General Studies for two years, Butzner found a job at Iron Age magazine. Her 1943 article on economic decline in Scranton was well publicized and led the Murray Corporation of America to locate a warplane factory there. Encouraged by this success, Butzner petitioned the War Production Board to support more operations in Scranton. Experiencing job discrimination at Iron Age, she also advocated for equal pay for women and for the right of workers to unionize. Amerika She became a feature writer for the Office of War Information and then a reporter for Amerika, a publication of the U.S. State Department in the Russian language. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson Street. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect. The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard. Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On 25 March 1952, Jacobs delivered her response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said: The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe... Architectural Forum Jacobs left Amerika in 1952 when it announced its relocation to Washington, D.C. She then found a well-paying job at Architectural Forum, published by Henry Luce of Time Inc. She was hired as an associate editor. After early success in that position, Jacobs began to take assignments on urban planning and "urban blight". In 1954, she was assigned to cover a development in Philadelphia designed by Edmund Bacon. Although her editors expected a positive story, Jacobs criticized Bacon's project, reacting against its lack of concern for the poor African Americans who were directly affected. When Bacon showed Jacobs examples of undeveloped and developed blocks, she determined that "development" seemed to end community life on the street. When Jacobs returned to the offices of Architectural Forum, she began to question the 1950s consensus on urban planning. In 1955, Jacobs met William Kirk, an Episcopal minister who worked in East Harlem. Kirk came to the Architectural Forum offices to describe the impact that "revitalization" had on East Harlem, and he introduced Jacobs to the neighborhood. In 1956, while standing in for Douglas Haskell of Architectural Forum, Jacobs delivered a lecture at Harvard University. She addressed leading architects, urban planners, and intellectuals (including Lewis Mumford), speaking on the topic of East Harlem. She urged this audience to "respect – in the deepest sense – strips of chaos that have a weird wisdom of their own not yet encompassed in our concept of urban order." Contrary to her expectations, the talk was received with enthusiasm, but it also marked her as a threat to established urban planners, real estate owners, and developers. Architectural Forum printed the speech that year, along with photographs of East Harlem. Rockefeller Foundation and Death and Life of Great American Cities After reading her Harvard speech, William H. Whyte invited Jacobs to write an article for Fortune magazine. The resulting piece, "Downtown Is for People", appeared in a 1958 issue of Fortune, and marked her first public criticism of Robert Moses. Her criticism of the Lincoln Center was not popular with supporters of urban renewal at Architectural Forum and Fortune. C.D. Jackson, the publisher of Fortune, was outraged and over the telephone, demanded of Whyte: "Who is this crazy dame?" The Fortune article brought Jacobs to the attention of Chadbourne Gilpatric, then associate director of the Humanities Division at the Rockefeller Foundation. The foundation had moved aggressively into urban topics, with a recent award to the Massachusetts Institute of Technology for studies of urban aesthetics that would culminate in the publication of Kevin A. Lynch's Image of the City. In May 1958, Gilpatric invited Jacobs to begin serving as a reviewer for grant proposals. Later that year, the Rockefeller Foundation awarded a grant to Jacobs to produce a critical study of city planning and urban life in the U.S. (From the mid-1950s to the mid-1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee.) Gilpatric encouraged Jacobs to "explor[e] the field of urban design to look for ideas and actions which may improve thinking on how the design of cities might better serve urban life, including cultural and humane value." Affiliating with The New School (then called The New School for Social Research), she spent three years conducting research and writing drafts. In 1961, Random House published the result: The Death and Life of Great American Cities.The Death and Life of Great American Cities remains one of the most influential books in the history of American city planning. She coined the terms "social capital", "mixed primary uses", and "eyes on the street", which were adopted professionally in urban design, sociology, and many other fields. Jacobs painted a devastating picture of the profession of city planning, labeling it a pseudoscience. This angered the male-dominated urban planning profession. Jacobs was criticized with ad hominem attacks, being called a "militant dame" and a "housewife": an amateur who had no right to interfere with an established discipline. One planner dismissed Jacobs's book as "bitter coffee-house rambling". Robert Moses, sent a copy, called it "intemperate and also libelous... Sell this junk to someone else." Later, her book was criticized from the left for leaving out race and openly endorsing gentrification, which Jacobs referred to as "unslumming". In 1962, she resigned her position at Architectural Forum to become a full-time author and concentrate on raising her children. In other political activities she became an opponent of the Vietnam War, marched on the Pentagon in October 1967, and criticized the construction of the World Trade Center as a disaster for Manhattan's waterfront. Struggle for Greenwich Village During the 1950s and 1960s, her home neighborhood of Greenwich Village was being transformed by city and state efforts to build housing (see, for example, Jacobs's 1961 fight to build the West Village Houses in lieu of large apartment houses), private developers, the expansion of New York University, and by the urban renewal plans of Robert Moses. Moses' plan, funded as "slum clearance" by Title I of the Housing Act of 1949, also called for several blocks to be razed and replaced with upscale high-rises. The plan forced 132 families out of their homes and displaced 1,000 small businesses—the result was Washington Square Village. As part of his efforts to revitalize the area, Moses had proposed the extension of Fifth Avenue through Washington Square Park in 1935. In the face of community opposition, Moses had shelved the project, but revived the idea in the 1950s. Moses argued that the Fifth Avenue extension would improve the flow of traffic through the neighborhood and provide access to the planned Lower Manhattan Expressway (LOMEX), which would connect the Manhattan Bridge and Williamsburg Bridge with the Holland Tunnel. In response, local activist Shirley Hayes created the "Committee to Save Washington Square Park", a coalition of dozens of local neighborhood groups that opposed the roadway extension. Raymond S. Rubinow eventually took over the organization, changing its name to the "Joint Emergency Committee to Close Washington Square to Traffic". Jacobs had joined the committee under Hayes, but she took a more prominent role under Rubinow, reaching out to media outlets such as The Village Voice, which provided more sympathetic coverage than The New York Times. The committee gained the support of Margaret Mead, Eleanor Roosevelt, Lewis Mumford, Charles Abrams, and William H. Whyte, as well as Carmine De Sapio, a Greenwich Village resident and influential Democratic leader. De Sapio's involvement proved decisive. On 25 June 1958, the city closed Washington Square Park to traffic, and the joint committee held a ribbon tying (not cutting) ceremony. Plans for LOMEX expressway continued despite growing community opposition in areas such as Little Italy. In the 1960s, Jacobs chaired the Joint Committee to Stop the Lower Manhattan Expressway. The New York Times was sympathetic to Moses, while The Village Voice covered community rallies and advocated against the expressway. Jacobs continued to fight the expressway when plans resurfaced in 1962, 1965, and 1968, and she became a local hero for her opposition to the project. She was arrested by a plainclothes police officer on April 10, 1968, at a public hearing during which the crowd had charged the stage and destroyed the stenographer's notes. She was accused of inciting a riot, criminal mischief, and obstructing public administration. After months of trials conducted in New York City (to which Jacobs commuted from Toronto), her charge was reduced to disorderly conduct.New York: A Documentary Film devoted an hour of the eight-part, seventeen-and-a-half-hour series to the battle between Moses and Jacobs. Robert Caro's biography of Moses, The Power Broker, gives only passing mention to this event, however, despite Jacobs's strong influence on Caro. In 2017, Caro told an interviewer about the difficulty in cutting more than 300,000 words from his initial manuscript: "The section that I wrote on Jane Jacobs disappeared. To this day, when someone says: 'There's hardly a mention of Jane Jacobs,' I think, 'But I wrote a lot about her.' Every time I'm asked about that, I have this sick feeling." Life in Toronto Soon after her arrest in 1968, Jacobs moved to Toronto, eventually settling at 69 Albany Avenue in The Annex from 1971 until her death in 2006. She decided to leave the U.S. in part because she opposed the Vietnam War, she worried about the fate of her two draft-age sons, and she did not want to continue fighting the New York City government. She and her husband chose Toronto because it was pleasant and offered employment opportunities, and they moved to an area of Toronto that included so many Americans avoiding the draft that it was called the "American ghetto". She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether cities were being built for people or for cars. She was arrested twice during demonstrations. She also had considerable influence on the regeneration of the St. Lawrence neighborhood, a housing project regarded as a major success. She became a Canadian citizen in 1974 and later, she told writer James Howard Kunstler that dual citizenship was not possible at the time, implying that her U.S. citizenship was lost. In 1980, she offered a more urban perspective on Quebec's sovereignty in her book, The Question of Separatism: Quebec and the Struggle over Separation. Jacobs was an advocate of a Province of Toronto to separate the city proper from Ontario. Jacobs said, "Cities, to thrive in the twenty-first century, must separate themselves politically from their surrounding areas." She was selected to be an officer of the Order of Canada in 1996 for her seminal writings and thought-provoking commentaries on urban development. The community and urban sociology section of the American Sociological Association awarded her its Outstanding Lifetime Contribution award in 2002. In 1997, the city government of Toronto sponsored a conference entitled, "Jane Jacobs: Ideas That Matter", which led to a book by the same name. At the end of the conference, the Jane Jacobs Prize was created. It includes an annual stipend of $5,000 for three years to be given to "celebrate Toronto's original, unsung heroes – by seeking out citizens who are engaged in activities that contribute to the city's vitality". Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and she was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a longshot. During the mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city waterfront to Toronto City Centre Airport (TCCA). Following the election, the Toronto city council's earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport was still in operation as of 2019. In lieu of the bridge, a pedestrian tunnel broke ground in March 2012. The tunnel opened on 30 July 2015. Jacobs also was active in a campaign against a plan of Royal St. George's College (an established school very close to the Jacobs residence in Toronto's Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but that the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school's plans, the decision later was reversed – and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing. She also had an influence on Vancouver's urban planning. Jacobs has been called "the mother of Vancouverism", referring to that city's use of her "density done well" philosophy. Jacobs died in Toronto Western Hospital aged 89, on 25 April 2006, apparently of a stroke. She was survived by a brother, James Butzner (d. 2009); a daughter, Burgin Jacobs, her sons, James and Ned of Vancouver, and by two grandchildren and two great-grandchildren. Upon her death her family's statement noted: "What's important is not that she died but that she lived, and that her life's work has greatly influenced the way we think. Please remember her by reading her books and implementing her ideas". Legacy Jacobs is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. She has been characterized as a major influence on decentralist and radical centrist thought. She discussed her legacy in an interview with Reason magazine. While Jacobs saw her greatest legacy to be her contributions to economic theory, it is in the realm of urban planning that she has had her most extensive effect. Her observations about the ways in which cities function revolutionized the urban planning profession and discredited many accepted planning models that had dominated mid-century planning. The influential Harvard Economist Edward Glaeser, known for his work on urban studies, acknowledged that Jane Jacobs (1960s) had been prescient in attacking Moses for "replacing well-functioning neighborhoods with Le Corbusier-inspired towers". Glaeser agreed that these housing projects proved to be Moses' greatest failures, "Moses spent millions and evicted tens of thousands to create buildings that became centers of crime, poverty, and despair." She also was famous for introducing concepts such as the "Ballet of the Sidewalk" and "Eyes on the Street", a reference to what would later be known as natural surveillance. The concept had a huge influence on planners and architects such as Oscar Newman, who prepared the idea through a series of studies that would culminate in his defensible space theory. The work of Jacobs and Newman would go on to affect American housing policy through the HOPE VI Program, an effort by the United States Department of Housing and Urban Development to demolish the high-rise public housing projects so reviled by Jacobs and to replace them with low-rise, mixed-income housing. Throughout her life, Jacobs fought to alter the way in which city development was approached. By arguing that cities were living beings and ecosystems, she advocated ideas such as "mixed use" development and bottom-up planning. Furthermore, her harsh criticisms of "slum clearing" and "high-rise housing" projects were instrumental in discrediting these once universally supported planning practices. Jacobs is remembered as being an advocate for the mindful development of cities, and for leaving "a legacy of empowerment for citizens to trust their common sense and become advocates for their place". Despite the fact that Jacobs mainly focused on New York City, her arguments have been identified as universal. For instance, her opposition against the demolition of urban neighborhoods for projects of urban renewal had "special resonance" in Melbourne, Australia. In Melbourne in the 1960s, resident associations fought against large-scale high-rise housing projects of the Housing Commission of Victoria, which they argued had little regard for the impact on local communities. Jacobs fought an uphill battle against dominant trends of planning. Despite the United States remaining very much a suburban nation, the work of Jacobs has contributed to city living being rehabilitated and revitalized. Because of her ideas, today, many distressed urban neighborhoods are more likely to be gentrified than cleared for redevelopment. Samuel R. Delany's book Times Square Red, Times Square Blue relies heavily on The Death and Life of Great American Cities in its analysis of the nature of social relations within the realm of urban studies. Jane Jacobs Days After the death of Jacobs in April 2006, New York City Mayor Michael Bloomberg announced a Jane Jacobs Day, held on June 28, 2006. The City of Toronto proclaimed her birthday the following year, May 4, 2007, as Jane Jacobs Day. Jane's Walks In connection with Jane Jacobs Day in Toronto, two dozen free neighborhood walks in the city were offered that weekend (5 May 2007) as an active memorial to Jacobs, and they were dubbed Jane's Walks. Later, a Jane's Walk event was held in New York on September 29–30, 2007. In 2008, the event spread to eight cities and towns throughout Canada, and by 2016, Jane's Walks were taking place in 212 cities in 36 countries, on six continents. The interpretive walks typically apply ideas Jacobs identified or espoused to local areas, which are explored on foot and sometimes by bicycle. The walks normally take place in early May, on or close to her May 4 birth anniversary. Walks are organized and led by local volunteers, coordinated by a headquarters office in Toronto. There are more than 200 walks offered in Toronto, alone, in 2016, taking place on May 6, 7, and 8. Exhibitions In 2016, to mark the hundredth birth anniversary of Jane Jacobs, a Toronto gallery staged "Jane at Home", an exhibition running from April 29-May 8. Curated by Jane's son, Jim Jacobs, it offered glimpses of her home life, where she also worked. Her Toronto living room was represented, based on the one at her Albany Avenue house in The Annex, where she often spoke with noted thinkers and political leaders including Marshall McLuhan, Paul Martin, and the Queen of the Netherlands. On display were her typewriter, original manuscripts, rediscovered photographs demonstrating her distinctive styles, and personal mementos. The exhibit included furniture from previous homes in New York (her dining room is set up) and from Scranton, Pennsylvania.Jane at Home , Urbanspace Gallery, Toronto, 2016 In 2007, the Municipal Art Society of New York partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York," which opened at the society in September that year. The exhibit aimed to educate the public on her writings and activism and used tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication included essays and articles by such architecture critics, artists, activists, and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors participated in a series of panel discussions on "Jane Jacobs and the Future of New York". Jane Jacobs Medal As a tribute to Jacobs, the Rockefeller Foundation, which had awarded grants to Jacobs in the 1950s and 1960s, announced on February 9, 2007, the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City". Recipients include: Barry Benepe, co-founder of the New York City Green Market program and a founding member of Transportation Alternatives, was awarded with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize in September 2007. The inaugural Jane Jacobs Medal for New Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization. Peggy Shepard, executive director of West Harlem Environmental Action, received the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, received the award for New Ideas and Activism. Both women received their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City. Damaris Reyes, executive director of Good Old Lower East Side (GOLES), received the 2009 Jane Jacobs Medal for New Ideas and Activism. Richard Kahan, as founder and CEO of the Urban Assembly, which created and manages 22 secondary public schools located in many of the lowest income neighborhoods in New York City, received the 2009 Jane Jacobs Medal for Lifetime Leadership. Both received $100,000, in addition to the medal. The 2010 recipients were Joshua David and Robert Hammond, whose work in establishing the High Line Park atop an unused elevated railroad line, led the foundation to award the 2010 Jane Jacobs Medal for New Ideas and Activism, along with $60,000 to each man. The 2010 Jane Jacobs Medal for Lifetime Leadership was given to Elizabeth Barlow Rogers, for her longtime work as writer, park administrator, and co-founder of Central Park Conservancy. She received $80,000 as well. The Canadian Urban Institute offers an award to honor her, the Jane Jacobs Lifetime Achievement Award, to recognize a person "who has had significant impact on the health of their region consistent with Jane Jacob's belief that successful cities foster a place-based, community-centered approach." The 2011 winner was Eberhard Zeidler, while his daughter, Margie Zeidler, won the 2015 award. In 2012, Anne Golden took the prize "for her long-standing leadership in public policy, her academic work and her varied leadership experience in business, not-for-profit and government sectors." William (Bill) Teron accepted the 2013 award "for his influential career in public policy and passionate advocacy for quality design and commitment to development in the Ottawa area." In 2014, Jack Diamond was recognized for his "contribution to improving the built form and advocacy for cities and the future of the Greater Toronto Area." In April 2014, Spacing was appointed the stewards of the Jane Jacobs Prize. Spacing, winners of the prize in 2010, has continued to provide the award with a new life and new ways of promoting (and finding) the winners. Other honors Jane Jacobs Way, West Village, New York City (Hudson Street and Eleventh Street, New York, New York) Jane Jacobs Park, 11 Wellesley Street West, Toronto (construction began in 2016) Jane Jacobs sculptural chairs, Victoria Memorial Square (St. John's Square), Toronto Jane Jacobs Toronto Legacy Plaque, 69 Albany Avenue, Toronto Jacobs' Ladder, rose bushes dedicated by Grassroots Albany (neighbors) in 1997, Toronto Jane Jacobs Street, Mount Pleasant, South Carolina Jane Jacobs Street (Village of Cheshire) Black Mountain, North Carolina a Google Doodle marked the 100th anniversary of Jacobs's birth, on May 4, 2016, and was featured on Google's homepage in 15 countries on four continents a conference room at the offices of the New Economics Foundation in London is named in honor of Jacobs Jacobs received the second Vincent Scully Prize from the National Building Museum in 2000. Jacobs is the subject of the 2017 documentary film Citizen Jane: Battle for the City, which depicts her victories over Robert Moses and her philosophy of urban design. In popular culture A fictionalized version of her is played by Alison Smith in a season 1 episode of the Amazon series The Marvelous Mrs. Maisel. The community organizer played by Cherry Jones in Motherless Brooklyn has drawn comparisons to Jane Jacobs. The director, Edward Norton, has clarified that the composite character was partially based on Jacobs, but more so on Hortense Gabel who was active a decade earlier. The URL of the Facebook group New Urbanist Memes for Transit-Oriented Teens (NUMTOT) is whatwouldjanejacobsdo. Criticism The planners and developers she fought against to preserve the West Village were among those who initially criticized her ideas. Robert Moses has generally been identified as her arch-rival during this period. Since then, Jacobs's ideas have been analysed many times, often in regard to the outcomes that their influences have produced.Glaeser, Edward L. (2010) Taller Buildings, Cheaper Homes. The New York Times, 4 May 2010 6:02 amOuroussoff, Nicolai (2006) Outgrowing Jane Jacobs and Her New York. The New York Times, Published 30 April 2006Bratishenko, Lev (2016) Jane Jacobs's Tunnel Vision Why our cities need less Jane Jacobs. Literary Review of Canada, October 2016 In places such as the West Village, the factors that she argued would maintain economic and cultural diversity have led instead to gentrification and some of the most expensive real estate in the world. Her family's conversion of an old candy shop into a home is an example of the gentrifying trend that would continue under the influence of Jacobs's ideas. Gentrification also was caused, however, by "the completely unexpected influx of affluent residents back into the inner city". The extent to which her ideas facilitated this phenomenon was at the time unimaginable. For example, she advocated the preservation of older buildings specifically because their lack of economic value made them affordable for poor people. In this respect, she saw them as "guarantors of social diversity". That many of these older structures have increased in economic value solely due to their age was implausible in 1961. Issues of gentrification have dominated criticism of Jane Jacobs's planning ideas. Economist Tyler Cowen has criticized her ideas for not addressing problems of scale or infrastructure, and suggests that economists disagree with some of her approaches to development. For example, although her ideas of planning were praised at times as "universal", they are now thought inapplicable when a city grows from one million to ten million (as has happened many times in developing nations). Such arguments suggest that her ideas apply only to cities with similar issues to those of New York, where Jacobs developed many of them. Works Jane Jacobs spent her life studying cities. Her books include: The Death and Life of Great American Cities The Death and Life of Great American Cities is her single-most influential book and, possibly, the most influential book on urban planning and cities. Published in 1961, this book was widely read by both planning professionals and the general public. The book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. In the book, she celebrates the diversity and complexity of old-mixed use neighborhoods while lamenting the monotony and sterility of modern planning. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and she frequently cited New York City's Greenwich Village as an example of a vibrant urban community. Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, although Caro does not mention Jacobs by name in the book despite Jacobs's battles with Moses over his proposed Lower Manhattan Expressway. Caro reportedly cut a chapter about Jacobs due to his book's length. Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and anecdotes. The Economy of Cities The thesis of this book is that cities are the primary drivers of economic development. Her main argument is that explosive economic growth derives from urban import replacement. Import replacement is the process of producing goods locally that formerly were imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased production is subsequently exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth. In an interview with Bill Steigerwald in Reason Magazine, Jacobs said that if she is remembered for being a great intellectual she will be remembered not for her work concerning city planning, but for the discovery of import replacement. Critics erroneously claim that her ideas parrot the idea of import substitution advanced earlier by scholars such as Andre Gunder Frank. Import substitution was a national economic theory implying that if a nation substituted its imports with national production, the nation would become wealthier, whereas Jacob's idea is entirely about cities and could be called urban import substitution. However, even this would lead to confusion since in practice, import substitution in India and Latin America were government subsidized and mandated, whereas Jacobs's concept of import replacement is a free market process of discovery and division of labor within a city. In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition. Another interpretation of history, generally and erroneously considered to be contradictory to Jacobs's is supported by Marxist archaeologist Vere Gordon Childe and in recent times, by another historical materialist Charles Keith Maisels These writers argue that agriculture preceded cities. The apparent opposition between Childe and Jacobs theories rests in their definition of 'city', 'civilization', or 'urban'. Childe, like other materialists such as Maisels or Henri Lefebvre defines 'urban' or 'civilization' as Synoecism—as a literate, socially stratified, monolithic political community, whereas, as one can see from The Economy of Cities or from Cities and the Wealth of Nations, Jacobs defines the city purely along the lines of geographically dense trade giving way to entrepreneurial discovery and subsequent improvements in the division of labor. Without the requirements of literacy, monumental building, or the signs of specialized civil and armed forces, 'cities' can be accurately be interpreted to exists thousands of years before when Childe and Maisels place them. However, the Jacobs definition is supposition, since 'city' is defined simply as a large town or "a large human settlement" indicating permanence. The earliest remains of mankind uncovered by archaeologists do not give us more information other than that they were hunter-gatherers as there is no evidence yet of farming or settlement, implying nomadic lifestyles until further discoveries are found. The Question of Separatism: Quebec and the Struggle over Sovereignty The Question of Separatism incorporated and expanded Jacobs's presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. It was published in 1980 and reprinted in 2011 with a previously-unpublished 2005 interview with Robin Philpot on the subject in which she evokes the relative overlooking of that book among her usual readership. This was the first time Jacobs was requested to discuss it in an interview. Columnist Richard Gwyn advanced that while not openly criticizing her, English-speaking Canadians readers thought she did not understood how Canadian politics worked and that she was not being helpful in a time of distress for national unity (the 1980 referendum was just defeated by a vote of 60%). The Question of Separatism was also not mentioned in the bibliography of her 2006 obituary in The Globe and Mail. Jacobs's book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway's secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada's historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example, Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories. The relevant public views of René Lévesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed, an example being their failure to recognize that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada, an issue that is central to her book. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that ultimately, such a need can never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive. Cities and the Wealth of Nations Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, although it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs argues that it is not the nation-state, rather it is the city that is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all. Systems of Survival Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgments related to work, collected and sorted them to find that they fit two patterns of moral behavior that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time. It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her system are applicable to both syndromes. Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York subway police are paid bonuses here – reinterpreted slightly as a part of the larger analysis. The Nature of Economies The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p. ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiation and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p. 82). Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems. Jacobs's characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p. 86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p. 119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p. 137). The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds. One particularly interesting insight is the creation of "something from nothing" – an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work". Dark Age Ahead Published in 2004 by Random House, Dark Age Ahead posits Jacobs's argument that "North American" civilization shows signs of a spiral decline comparable to the collapse of the Roman empire. Her discussion focuses on "five pillars of our culture that we depend on to stand firm", which can be summarized as the nuclear family and community; quality in education; free thought in science; representational government and responsible taxes; and corporate and professional accountability. As the title of this book suggests, Jacobs's outlook is far more pessimistic than that of her previous works. However, in the conclusion she admits: "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true." While Jacobs idealized U.S. democracy, Dark Age Ahead echoes the skepticism and disappointment that led to her emigration to Canada in 1968. Later, she would indicate that North American cultures, among others, were grounded in a "plantation mentality" that was culturally and ecologically unsustainable. Orthodox urbanism Jane Jacobs asserts in her work, The Death and Life of Great American Cities, that the sources of orthodox urbanism are: Garden Cities of Tomorrow, Ebenezer Howard The Culture of Cities, Lewis Mumford Cities in Evolution, Sir Patrick Geddes Modern Housing, Catherine Bauer Toward New Towns for America, Clarence Stein Nothing Gained by Overcrowding, Sir Raymond Unwin The City of Tomorrow and Its Planning, Le Corbusier Writings Constitutional chaff; rejected suggestions of the Constitutional Convention of 1787, with explanatory argument Compiled by Jane Butzner, (1941) Columbia University Press; Compiled by Jane Jacobs (Née Butzner), Reprinted 1970 by Kennikat Press, Port Washington, New York. The Death and Life of Great American Cities (1961) New York: Random House. The Economy of Cities (1969) The Question of Separatism: Quebec and the Struggle over Sovereignty (1980 Random House and 2011 Baraka Books) Cities and the Wealth of Nations (1985) The Girl on the Hat (Children's Book Illustrated by Karen Reczuch), (June 1990) Oxford University Press. Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics (1992) A Schoolteacher in Old Alaska – The Story of Hannah Breece (1995) Random House of Canada. The Nature of Economies (2000) New York: Random House, The Modern Library. Dark Age Ahead (2004) Vital Little Plans: The Short Works of Jane Jacobs'' (2016) New York: Random House. See also David Crombie Fred Gardiner Innovation Economics Urban secession Urban vitality References Bibliography Further reading External links Jane Jacobs's Order of Canada Citation Jane Jacobs's Papers at John J. Burns Library, Boston College Jane Jacobs Oral History, 1997 Greenwich Village Society for Historic Preservation Jane Jacobs's Legacy, City Journal online, July 31, 2009 1916 births 2006 deaths American architecture writers Naturalized citizens of Canada Tax resisters Women urban planners Anti-road protest Canadian architecture writers Canadian women non-fiction writers Canadian social commentators Interstate 78 Members of the Order of Ontario Moral philosophers Officers of the Order of Canada People from Greenwich Village Writers from Scranton, Pennsylvania Radical centrist writers Urban theorists Environmental economists Writers from Toronto Columbia University School of General Studies alumni American emigrants to Canada Women's page journalists

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What year was this

What year did Janet Jacobs move with her sister Betty?

Jane Jacobs

In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. CANNOTANSWER

1935,

{{Infobox person |image = Jane Jacobs.jpg |imagesize = |caption = Jacobs as chair of a Greenwich Village civic group at a 1961 press conference |name = Jane Jacobs |honorific_suffix = |birth_name = Jane Butzner |birth_date = |birth_place = Scranton, Pennsylvania, U.S. |death_date = |death_place = Toronto, Ontario, Canada |education = Graduate of Scranton Central High School; two years of undergraduate studies at Columbia University |occupation = Journalist, author, urban theorist |employer = Amerika, Architectural Forum |notable_works = The Death and Life of Great American Cities |organization = Joint Committee to Stop the Lower Manhattan Expressway, Stop Spadina Save Our City Coordinating Committee Carlos Moreno<ref>Willsher, Kim, Paris mayor unveils '15-minute city' plan in re-election campaign, The Guardian, Friday, February 7, 2020</ref> |awards = OC, OOnt, Vincent Scully Prize, National Building Museum |spouse = Robert Jacobs |children = Ned Jacobs, James Jacobs, Mary Burgin Jacobs }} Jane Jacobs (née Butzner; 4 May 1916 – 25 April 2006) was an American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city-dwellers. Jacobs organized grassroots efforts to protect neighborhoods from urban renewal and slum clearance – in particular plans by Robert Moses to overhaul her own Greenwich Village neighborhood. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, which would have passed directly through an area of Manhattan that later became known as SoHo, as well as part of Little Italy and Chinatown. She was arrested in 1968 for inciting a crowd at a public hearing on that project. After moving to Toronto in 1968, she joined the opposition to the Spadina Expressway and the associated network of expressways in Toronto that were planned and under construction. As a woman and a writer who criticized experts in the male-dominated field of urban planning, Jacobs endured scorn from established figures. Routinely, she was described first as a housewife, as she did not have a college degree or any formal training in urban planning; as a result, her lack of credentials was seized upon as grounds for criticism. However, the influence of her concepts eventually was acknowledged by highly respected professionals such as Richard Florida and Robert Lucas. Early years Jacobs was born Jane Isabel Butzner in Scranton, Pennsylvania, the daughter of Bess Robison Butzner, a former teacher and nurse and John Decker Butzner, a physician. They were a Protestant family in a heavily Roman Catholic town. Her brother, John Decker Butzner, Jr., served as a judge on the United States Court of Appeals for the Fourth Circuit. After graduation from Scranton High School, she worked for a year as the unpaid assistant to the women's page editor at the Scranton Tribune. New York City In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which deviated some from the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in Manhattan, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. Career After attending Columbia University's School of General Studies for two years, Butzner found a job at Iron Age magazine. Her 1943 article on economic decline in Scranton was well publicized and led the Murray Corporation of America to locate a warplane factory there. Encouraged by this success, Butzner petitioned the War Production Board to support more operations in Scranton. Experiencing job discrimination at Iron Age, she also advocated for equal pay for women and for the right of workers to unionize. Amerika She became a feature writer for the Office of War Information and then a reporter for Amerika, a publication of the U.S. State Department in the Russian language. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson Street. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect. The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard. Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On 25 March 1952, Jacobs delivered her response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said: The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe... Architectural Forum Jacobs left Amerika in 1952 when it announced its relocation to Washington, D.C. She then found a well-paying job at Architectural Forum, published by Henry Luce of Time Inc. She was hired as an associate editor. After early success in that position, Jacobs began to take assignments on urban planning and "urban blight". In 1954, she was assigned to cover a development in Philadelphia designed by Edmund Bacon. Although her editors expected a positive story, Jacobs criticized Bacon's project, reacting against its lack of concern for the poor African Americans who were directly affected. When Bacon showed Jacobs examples of undeveloped and developed blocks, she determined that "development" seemed to end community life on the street. When Jacobs returned to the offices of Architectural Forum, she began to question the 1950s consensus on urban planning. In 1955, Jacobs met William Kirk, an Episcopal minister who worked in East Harlem. Kirk came to the Architectural Forum offices to describe the impact that "revitalization" had on East Harlem, and he introduced Jacobs to the neighborhood. In 1956, while standing in for Douglas Haskell of Architectural Forum, Jacobs delivered a lecture at Harvard University. She addressed leading architects, urban planners, and intellectuals (including Lewis Mumford), speaking on the topic of East Harlem. She urged this audience to "respect – in the deepest sense – strips of chaos that have a weird wisdom of their own not yet encompassed in our concept of urban order." Contrary to her expectations, the talk was received with enthusiasm, but it also marked her as a threat to established urban planners, real estate owners, and developers. Architectural Forum printed the speech that year, along with photographs of East Harlem. Rockefeller Foundation and Death and Life of Great American Cities After reading her Harvard speech, William H. Whyte invited Jacobs to write an article for Fortune magazine. The resulting piece, "Downtown Is for People", appeared in a 1958 issue of Fortune, and marked her first public criticism of Robert Moses. Her criticism of the Lincoln Center was not popular with supporters of urban renewal at Architectural Forum and Fortune. C.D. Jackson, the publisher of Fortune, was outraged and over the telephone, demanded of Whyte: "Who is this crazy dame?" The Fortune article brought Jacobs to the attention of Chadbourne Gilpatric, then associate director of the Humanities Division at the Rockefeller Foundation. The foundation had moved aggressively into urban topics, with a recent award to the Massachusetts Institute of Technology for studies of urban aesthetics that would culminate in the publication of Kevin A. Lynch's Image of the City. In May 1958, Gilpatric invited Jacobs to begin serving as a reviewer for grant proposals. Later that year, the Rockefeller Foundation awarded a grant to Jacobs to produce a critical study of city planning and urban life in the U.S. (From the mid-1950s to the mid-1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee.) Gilpatric encouraged Jacobs to "explor[e] the field of urban design to look for ideas and actions which may improve thinking on how the design of cities might better serve urban life, including cultural and humane value." Affiliating with The New School (then called The New School for Social Research), she spent three years conducting research and writing drafts. In 1961, Random House published the result: The Death and Life of Great American Cities.The Death and Life of Great American Cities remains one of the most influential books in the history of American city planning. She coined the terms "social capital", "mixed primary uses", and "eyes on the street", which were adopted professionally in urban design, sociology, and many other fields. Jacobs painted a devastating picture of the profession of city planning, labeling it a pseudoscience. This angered the male-dominated urban planning profession. Jacobs was criticized with ad hominem attacks, being called a "militant dame" and a "housewife": an amateur who had no right to interfere with an established discipline. One planner dismissed Jacobs's book as "bitter coffee-house rambling". Robert Moses, sent a copy, called it "intemperate and also libelous... Sell this junk to someone else." Later, her book was criticized from the left for leaving out race and openly endorsing gentrification, which Jacobs referred to as "unslumming". In 1962, she resigned her position at Architectural Forum to become a full-time author and concentrate on raising her children. In other political activities she became an opponent of the Vietnam War, marched on the Pentagon in October 1967, and criticized the construction of the World Trade Center as a disaster for Manhattan's waterfront. Struggle for Greenwich Village During the 1950s and 1960s, her home neighborhood of Greenwich Village was being transformed by city and state efforts to build housing (see, for example, Jacobs's 1961 fight to build the West Village Houses in lieu of large apartment houses), private developers, the expansion of New York University, and by the urban renewal plans of Robert Moses. Moses' plan, funded as "slum clearance" by Title I of the Housing Act of 1949, also called for several blocks to be razed and replaced with upscale high-rises. The plan forced 132 families out of their homes and displaced 1,000 small businesses—the result was Washington Square Village. As part of his efforts to revitalize the area, Moses had proposed the extension of Fifth Avenue through Washington Square Park in 1935. In the face of community opposition, Moses had shelved the project, but revived the idea in the 1950s. Moses argued that the Fifth Avenue extension would improve the flow of traffic through the neighborhood and provide access to the planned Lower Manhattan Expressway (LOMEX), which would connect the Manhattan Bridge and Williamsburg Bridge with the Holland Tunnel. In response, local activist Shirley Hayes created the "Committee to Save Washington Square Park", a coalition of dozens of local neighborhood groups that opposed the roadway extension. Raymond S. Rubinow eventually took over the organization, changing its name to the "Joint Emergency Committee to Close Washington Square to Traffic". Jacobs had joined the committee under Hayes, but she took a more prominent role under Rubinow, reaching out to media outlets such as The Village Voice, which provided more sympathetic coverage than The New York Times. The committee gained the support of Margaret Mead, Eleanor Roosevelt, Lewis Mumford, Charles Abrams, and William H. Whyte, as well as Carmine De Sapio, a Greenwich Village resident and influential Democratic leader. De Sapio's involvement proved decisive. On 25 June 1958, the city closed Washington Square Park to traffic, and the joint committee held a ribbon tying (not cutting) ceremony. Plans for LOMEX expressway continued despite growing community opposition in areas such as Little Italy. In the 1960s, Jacobs chaired the Joint Committee to Stop the Lower Manhattan Expressway. The New York Times was sympathetic to Moses, while The Village Voice covered community rallies and advocated against the expressway. Jacobs continued to fight the expressway when plans resurfaced in 1962, 1965, and 1968, and she became a local hero for her opposition to the project. She was arrested by a plainclothes police officer on April 10, 1968, at a public hearing during which the crowd had charged the stage and destroyed the stenographer's notes. She was accused of inciting a riot, criminal mischief, and obstructing public administration. After months of trials conducted in New York City (to which Jacobs commuted from Toronto), her charge was reduced to disorderly conduct.New York: A Documentary Film devoted an hour of the eight-part, seventeen-and-a-half-hour series to the battle between Moses and Jacobs. Robert Caro's biography of Moses, The Power Broker, gives only passing mention to this event, however, despite Jacobs's strong influence on Caro. In 2017, Caro told an interviewer about the difficulty in cutting more than 300,000 words from his initial manuscript: "The section that I wrote on Jane Jacobs disappeared. To this day, when someone says: 'There's hardly a mention of Jane Jacobs,' I think, 'But I wrote a lot about her.' Every time I'm asked about that, I have this sick feeling." Life in Toronto Soon after her arrest in 1968, Jacobs moved to Toronto, eventually settling at 69 Albany Avenue in The Annex from 1971 until her death in 2006. She decided to leave the U.S. in part because she opposed the Vietnam War, she worried about the fate of her two draft-age sons, and she did not want to continue fighting the New York City government. She and her husband chose Toronto because it was pleasant and offered employment opportunities, and they moved to an area of Toronto that included so many Americans avoiding the draft that it was called the "American ghetto". She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether cities were being built for people or for cars. She was arrested twice during demonstrations. She also had considerable influence on the regeneration of the St. Lawrence neighborhood, a housing project regarded as a major success. She became a Canadian citizen in 1974 and later, she told writer James Howard Kunstler that dual citizenship was not possible at the time, implying that her U.S. citizenship was lost. In 1980, she offered a more urban perspective on Quebec's sovereignty in her book, The Question of Separatism: Quebec and the Struggle over Separation. Jacobs was an advocate of a Province of Toronto to separate the city proper from Ontario. Jacobs said, "Cities, to thrive in the twenty-first century, must separate themselves politically from their surrounding areas." She was selected to be an officer of the Order of Canada in 1996 for her seminal writings and thought-provoking commentaries on urban development. The community and urban sociology section of the American Sociological Association awarded her its Outstanding Lifetime Contribution award in 2002. In 1997, the city government of Toronto sponsored a conference entitled, "Jane Jacobs: Ideas That Matter", which led to a book by the same name. At the end of the conference, the Jane Jacobs Prize was created. It includes an annual stipend of $5,000 for three years to be given to "celebrate Toronto's original, unsung heroes – by seeking out citizens who are engaged in activities that contribute to the city's vitality". Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and she was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a longshot. During the mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city waterfront to Toronto City Centre Airport (TCCA). Following the election, the Toronto city council's earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport was still in operation as of 2019. In lieu of the bridge, a pedestrian tunnel broke ground in March 2012. The tunnel opened on 30 July 2015. Jacobs also was active in a campaign against a plan of Royal St. George's College (an established school very close to the Jacobs residence in Toronto's Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but that the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school's plans, the decision later was reversed – and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing. She also had an influence on Vancouver's urban planning. Jacobs has been called "the mother of Vancouverism", referring to that city's use of her "density done well" philosophy. Jacobs died in Toronto Western Hospital aged 89, on 25 April 2006, apparently of a stroke. She was survived by a brother, James Butzner (d. 2009); a daughter, Burgin Jacobs, her sons, James and Ned of Vancouver, and by two grandchildren and two great-grandchildren. Upon her death her family's statement noted: "What's important is not that she died but that she lived, and that her life's work has greatly influenced the way we think. Please remember her by reading her books and implementing her ideas". Legacy Jacobs is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. She has been characterized as a major influence on decentralist and radical centrist thought. She discussed her legacy in an interview with Reason magazine. While Jacobs saw her greatest legacy to be her contributions to economic theory, it is in the realm of urban planning that she has had her most extensive effect. Her observations about the ways in which cities function revolutionized the urban planning profession and discredited many accepted planning models that had dominated mid-century planning. The influential Harvard Economist Edward Glaeser, known for his work on urban studies, acknowledged that Jane Jacobs (1960s) had been prescient in attacking Moses for "replacing well-functioning neighborhoods with Le Corbusier-inspired towers". Glaeser agreed that these housing projects proved to be Moses' greatest failures, "Moses spent millions and evicted tens of thousands to create buildings that became centers of crime, poverty, and despair." She also was famous for introducing concepts such as the "Ballet of the Sidewalk" and "Eyes on the Street", a reference to what would later be known as natural surveillance. The concept had a huge influence on planners and architects such as Oscar Newman, who prepared the idea through a series of studies that would culminate in his defensible space theory. The work of Jacobs and Newman would go on to affect American housing policy through the HOPE VI Program, an effort by the United States Department of Housing and Urban Development to demolish the high-rise public housing projects so reviled by Jacobs and to replace them with low-rise, mixed-income housing. Throughout her life, Jacobs fought to alter the way in which city development was approached. By arguing that cities were living beings and ecosystems, she advocated ideas such as "mixed use" development and bottom-up planning. Furthermore, her harsh criticisms of "slum clearing" and "high-rise housing" projects were instrumental in discrediting these once universally supported planning practices. Jacobs is remembered as being an advocate for the mindful development of cities, and for leaving "a legacy of empowerment for citizens to trust their common sense and become advocates for their place". Despite the fact that Jacobs mainly focused on New York City, her arguments have been identified as universal. For instance, her opposition against the demolition of urban neighborhoods for projects of urban renewal had "special resonance" in Melbourne, Australia. In Melbourne in the 1960s, resident associations fought against large-scale high-rise housing projects of the Housing Commission of Victoria, which they argued had little regard for the impact on local communities. Jacobs fought an uphill battle against dominant trends of planning. Despite the United States remaining very much a suburban nation, the work of Jacobs has contributed to city living being rehabilitated and revitalized. Because of her ideas, today, many distressed urban neighborhoods are more likely to be gentrified than cleared for redevelopment. Samuel R. Delany's book Times Square Red, Times Square Blue relies heavily on The Death and Life of Great American Cities in its analysis of the nature of social relations within the realm of urban studies. Jane Jacobs Days After the death of Jacobs in April 2006, New York City Mayor Michael Bloomberg announced a Jane Jacobs Day, held on June 28, 2006. The City of Toronto proclaimed her birthday the following year, May 4, 2007, as Jane Jacobs Day. Jane's Walks In connection with Jane Jacobs Day in Toronto, two dozen free neighborhood walks in the city were offered that weekend (5 May 2007) as an active memorial to Jacobs, and they were dubbed Jane's Walks. Later, a Jane's Walk event was held in New York on September 29–30, 2007. In 2008, the event spread to eight cities and towns throughout Canada, and by 2016, Jane's Walks were taking place in 212 cities in 36 countries, on six continents. The interpretive walks typically apply ideas Jacobs identified or espoused to local areas, which are explored on foot and sometimes by bicycle. The walks normally take place in early May, on or close to her May 4 birth anniversary. Walks are organized and led by local volunteers, coordinated by a headquarters office in Toronto. There are more than 200 walks offered in Toronto, alone, in 2016, taking place on May 6, 7, and 8. Exhibitions In 2016, to mark the hundredth birth anniversary of Jane Jacobs, a Toronto gallery staged "Jane at Home", an exhibition running from April 29-May 8. Curated by Jane's son, Jim Jacobs, it offered glimpses of her home life, where she also worked. Her Toronto living room was represented, based on the one at her Albany Avenue house in The Annex, where she often spoke with noted thinkers and political leaders including Marshall McLuhan, Paul Martin, and the Queen of the Netherlands. On display were her typewriter, original manuscripts, rediscovered photographs demonstrating her distinctive styles, and personal mementos. The exhibit included furniture from previous homes in New York (her dining room is set up) and from Scranton, Pennsylvania.Jane at Home , Urbanspace Gallery, Toronto, 2016 In 2007, the Municipal Art Society of New York partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York," which opened at the society in September that year. The exhibit aimed to educate the public on her writings and activism and used tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication included essays and articles by such architecture critics, artists, activists, and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors participated in a series of panel discussions on "Jane Jacobs and the Future of New York". Jane Jacobs Medal As a tribute to Jacobs, the Rockefeller Foundation, which had awarded grants to Jacobs in the 1950s and 1960s, announced on February 9, 2007, the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City". Recipients include: Barry Benepe, co-founder of the New York City Green Market program and a founding member of Transportation Alternatives, was awarded with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize in September 2007. The inaugural Jane Jacobs Medal for New Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization. Peggy Shepard, executive director of West Harlem Environmental Action, received the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, received the award for New Ideas and Activism. Both women received their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City. Damaris Reyes, executive director of Good Old Lower East Side (GOLES), received the 2009 Jane Jacobs Medal for New Ideas and Activism. Richard Kahan, as founder and CEO of the Urban Assembly, which created and manages 22 secondary public schools located in many of the lowest income neighborhoods in New York City, received the 2009 Jane Jacobs Medal for Lifetime Leadership. Both received $100,000, in addition to the medal. The 2010 recipients were Joshua David and Robert Hammond, whose work in establishing the High Line Park atop an unused elevated railroad line, led the foundation to award the 2010 Jane Jacobs Medal for New Ideas and Activism, along with $60,000 to each man. The 2010 Jane Jacobs Medal for Lifetime Leadership was given to Elizabeth Barlow Rogers, for her longtime work as writer, park administrator, and co-founder of Central Park Conservancy. She received $80,000 as well. The Canadian Urban Institute offers an award to honor her, the Jane Jacobs Lifetime Achievement Award, to recognize a person "who has had significant impact on the health of their region consistent with Jane Jacob's belief that successful cities foster a place-based, community-centered approach." The 2011 winner was Eberhard Zeidler, while his daughter, Margie Zeidler, won the 2015 award. In 2012, Anne Golden took the prize "for her long-standing leadership in public policy, her academic work and her varied leadership experience in business, not-for-profit and government sectors." William (Bill) Teron accepted the 2013 award "for his influential career in public policy and passionate advocacy for quality design and commitment to development in the Ottawa area." In 2014, Jack Diamond was recognized for his "contribution to improving the built form and advocacy for cities and the future of the Greater Toronto Area." In April 2014, Spacing was appointed the stewards of the Jane Jacobs Prize. Spacing, winners of the prize in 2010, has continued to provide the award with a new life and new ways of promoting (and finding) the winners. Other honors Jane Jacobs Way, West Village, New York City (Hudson Street and Eleventh Street, New York, New York) Jane Jacobs Park, 11 Wellesley Street West, Toronto (construction began in 2016) Jane Jacobs sculptural chairs, Victoria Memorial Square (St. John's Square), Toronto Jane Jacobs Toronto Legacy Plaque, 69 Albany Avenue, Toronto Jacobs' Ladder, rose bushes dedicated by Grassroots Albany (neighbors) in 1997, Toronto Jane Jacobs Street, Mount Pleasant, South Carolina Jane Jacobs Street (Village of Cheshire) Black Mountain, North Carolina a Google Doodle marked the 100th anniversary of Jacobs's birth, on May 4, 2016, and was featured on Google's homepage in 15 countries on four continents a conference room at the offices of the New Economics Foundation in London is named in honor of Jacobs Jacobs received the second Vincent Scully Prize from the National Building Museum in 2000. Jacobs is the subject of the 2017 documentary film Citizen Jane: Battle for the City, which depicts her victories over Robert Moses and her philosophy of urban design. In popular culture A fictionalized version of her is played by Alison Smith in a season 1 episode of the Amazon series The Marvelous Mrs. Maisel. The community organizer played by Cherry Jones in Motherless Brooklyn has drawn comparisons to Jane Jacobs. The director, Edward Norton, has clarified that the composite character was partially based on Jacobs, but more so on Hortense Gabel who was active a decade earlier. The URL of the Facebook group New Urbanist Memes for Transit-Oriented Teens (NUMTOT) is whatwouldjanejacobsdo. Criticism The planners and developers she fought against to preserve the West Village were among those who initially criticized her ideas. Robert Moses has generally been identified as her arch-rival during this period. Since then, Jacobs's ideas have been analysed many times, often in regard to the outcomes that their influences have produced.Glaeser, Edward L. (2010) Taller Buildings, Cheaper Homes. The New York Times, 4 May 2010 6:02 amOuroussoff, Nicolai (2006) Outgrowing Jane Jacobs and Her New York. The New York Times, Published 30 April 2006Bratishenko, Lev (2016) Jane Jacobs's Tunnel Vision Why our cities need less Jane Jacobs. Literary Review of Canada, October 2016 In places such as the West Village, the factors that she argued would maintain economic and cultural diversity have led instead to gentrification and some of the most expensive real estate in the world. Her family's conversion of an old candy shop into a home is an example of the gentrifying trend that would continue under the influence of Jacobs's ideas. Gentrification also was caused, however, by "the completely unexpected influx of affluent residents back into the inner city". The extent to which her ideas facilitated this phenomenon was at the time unimaginable. For example, she advocated the preservation of older buildings specifically because their lack of economic value made them affordable for poor people. In this respect, she saw them as "guarantors of social diversity". That many of these older structures have increased in economic value solely due to their age was implausible in 1961. Issues of gentrification have dominated criticism of Jane Jacobs's planning ideas. Economist Tyler Cowen has criticized her ideas for not addressing problems of scale or infrastructure, and suggests that economists disagree with some of her approaches to development. For example, although her ideas of planning were praised at times as "universal", they are now thought inapplicable when a city grows from one million to ten million (as has happened many times in developing nations). Such arguments suggest that her ideas apply only to cities with similar issues to those of New York, where Jacobs developed many of them. Works Jane Jacobs spent her life studying cities. Her books include: The Death and Life of Great American Cities The Death and Life of Great American Cities is her single-most influential book and, possibly, the most influential book on urban planning and cities. Published in 1961, this book was widely read by both planning professionals and the general public. The book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. In the book, she celebrates the diversity and complexity of old-mixed use neighborhoods while lamenting the monotony and sterility of modern planning. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and she frequently cited New York City's Greenwich Village as an example of a vibrant urban community. Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, although Caro does not mention Jacobs by name in the book despite Jacobs's battles with Moses over his proposed Lower Manhattan Expressway. Caro reportedly cut a chapter about Jacobs due to his book's length. Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and anecdotes. The Economy of Cities The thesis of this book is that cities are the primary drivers of economic development. Her main argument is that explosive economic growth derives from urban import replacement. Import replacement is the process of producing goods locally that formerly were imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased production is subsequently exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth. In an interview with Bill Steigerwald in Reason Magazine, Jacobs said that if she is remembered for being a great intellectual she will be remembered not for her work concerning city planning, but for the discovery of import replacement. Critics erroneously claim that her ideas parrot the idea of import substitution advanced earlier by scholars such as Andre Gunder Frank. Import substitution was a national economic theory implying that if a nation substituted its imports with national production, the nation would become wealthier, whereas Jacob's idea is entirely about cities and could be called urban import substitution. However, even this would lead to confusion since in practice, import substitution in India and Latin America were government subsidized and mandated, whereas Jacobs's concept of import replacement is a free market process of discovery and division of labor within a city. In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition. Another interpretation of history, generally and erroneously considered to be contradictory to Jacobs's is supported by Marxist archaeologist Vere Gordon Childe and in recent times, by another historical materialist Charles Keith Maisels These writers argue that agriculture preceded cities. The apparent opposition between Childe and Jacobs theories rests in their definition of 'city', 'civilization', or 'urban'. Childe, like other materialists such as Maisels or Henri Lefebvre defines 'urban' or 'civilization' as Synoecism—as a literate, socially stratified, monolithic political community, whereas, as one can see from The Economy of Cities or from Cities and the Wealth of Nations, Jacobs defines the city purely along the lines of geographically dense trade giving way to entrepreneurial discovery and subsequent improvements in the division of labor. Without the requirements of literacy, monumental building, or the signs of specialized civil and armed forces, 'cities' can be accurately be interpreted to exists thousands of years before when Childe and Maisels place them. However, the Jacobs definition is supposition, since 'city' is defined simply as a large town or "a large human settlement" indicating permanence. The earliest remains of mankind uncovered by archaeologists do not give us more information other than that they were hunter-gatherers as there is no evidence yet of farming or settlement, implying nomadic lifestyles until further discoveries are found. The Question of Separatism: Quebec and the Struggle over Sovereignty The Question of Separatism incorporated and expanded Jacobs's presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. It was published in 1980 and reprinted in 2011 with a previously-unpublished 2005 interview with Robin Philpot on the subject in which she evokes the relative overlooking of that book among her usual readership. This was the first time Jacobs was requested to discuss it in an interview. Columnist Richard Gwyn advanced that while not openly criticizing her, English-speaking Canadians readers thought she did not understood how Canadian politics worked and that she was not being helpful in a time of distress for national unity (the 1980 referendum was just defeated by a vote of 60%). The Question of Separatism was also not mentioned in the bibliography of her 2006 obituary in The Globe and Mail. Jacobs's book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway's secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada's historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example, Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories. The relevant public views of René Lévesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed, an example being their failure to recognize that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada, an issue that is central to her book. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that ultimately, such a need can never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive. Cities and the Wealth of Nations Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, although it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs argues that it is not the nation-state, rather it is the city that is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all. Systems of Survival Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgments related to work, collected and sorted them to find that they fit two patterns of moral behavior that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time. It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her system are applicable to both syndromes. Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York subway police are paid bonuses here – reinterpreted slightly as a part of the larger analysis. The Nature of Economies The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p. ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiation and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p. 82). Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems. Jacobs's characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p. 86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p. 119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p. 137). The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds. One particularly interesting insight is the creation of "something from nothing" – an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work". Dark Age Ahead Published in 2004 by Random House, Dark Age Ahead posits Jacobs's argument that "North American" civilization shows signs of a spiral decline comparable to the collapse of the Roman empire. Her discussion focuses on "five pillars of our culture that we depend on to stand firm", which can be summarized as the nuclear family and community; quality in education; free thought in science; representational government and responsible taxes; and corporate and professional accountability. As the title of this book suggests, Jacobs's outlook is far more pessimistic than that of her previous works. However, in the conclusion she admits: "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true." While Jacobs idealized U.S. democracy, Dark Age Ahead echoes the skepticism and disappointment that led to her emigration to Canada in 1968. Later, she would indicate that North American cultures, among others, were grounded in a "plantation mentality" that was culturally and ecologically unsustainable. Orthodox urbanism Jane Jacobs asserts in her work, The Death and Life of Great American Cities, that the sources of orthodox urbanism are: Garden Cities of Tomorrow, Ebenezer Howard The Culture of Cities, Lewis Mumford Cities in Evolution, Sir Patrick Geddes Modern Housing, Catherine Bauer Toward New Towns for America, Clarence Stein Nothing Gained by Overcrowding, Sir Raymond Unwin The City of Tomorrow and Its Planning, Le Corbusier Writings Constitutional chaff; rejected suggestions of the Constitutional Convention of 1787, with explanatory argument Compiled by Jane Butzner, (1941) Columbia University Press; Compiled by Jane Jacobs (Née Butzner), Reprinted 1970 by Kennikat Press, Port Washington, New York. The Death and Life of Great American Cities (1961) New York: Random House. The Economy of Cities (1969) The Question of Separatism: Quebec and the Struggle over Sovereignty (1980 Random House and 2011 Baraka Books) Cities and the Wealth of Nations (1985) The Girl on the Hat (Children's Book Illustrated by Karen Reczuch), (June 1990) Oxford University Press. Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics (1992) A Schoolteacher in Old Alaska – The Story of Hannah Breece (1995) Random House of Canada. The Nature of Economies (2000) New York: Random House, The Modern Library. Dark Age Ahead (2004) Vital Little Plans: The Short Works of Jane Jacobs'' (2016) New York: Random House. See also David Crombie Fred Gardiner Innovation Economics Urban secession Urban vitality References Bibliography Further reading External links Jane Jacobs's Order of Canada Citation Jane Jacobs's Papers at John J. Burns Library, Boston College Jane Jacobs Oral History, 1997 Greenwich Village Society for Historic Preservation Jane Jacobs's Legacy, City Journal online, July 31, 2009 1916 births 2006 deaths American architecture writers Naturalized citizens of Canada Tax resisters Women urban planners Anti-road protest Canadian architecture writers Canadian women non-fiction writers Canadian social commentators Interstate 78 Members of the Order of Ontario Moral philosophers Officers of the Order of Canada People from Greenwich Village Writers from Scranton, Pennsylvania Radical centrist writers Urban theorists Environmental economists Writers from Toronto Columbia University School of General Studies alumni American emigrants to Canada Women's page journalists

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Jane Jacobs

In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. CANNOTANSWER

during the Great Depression,

{{Infobox person |image = Jane Jacobs.jpg |imagesize = |caption = Jacobs as chair of a Greenwich Village civic group at a 1961 press conference |name = Jane Jacobs |honorific_suffix = |birth_name = Jane Butzner |birth_date = |birth_place = Scranton, Pennsylvania, U.S. |death_date = |death_place = Toronto, Ontario, Canada |education = Graduate of Scranton Central High School; two years of undergraduate studies at Columbia University |occupation = Journalist, author, urban theorist |employer = Amerika, Architectural Forum |notable_works = The Death and Life of Great American Cities |organization = Joint Committee to Stop the Lower Manhattan Expressway, Stop Spadina Save Our City Coordinating Committee Carlos Moreno<ref>Willsher, Kim, Paris mayor unveils '15-minute city' plan in re-election campaign, The Guardian, Friday, February 7, 2020</ref> |awards = OC, OOnt, Vincent Scully Prize, National Building Museum |spouse = Robert Jacobs |children = Ned Jacobs, James Jacobs, Mary Burgin Jacobs }} Jane Jacobs (née Butzner; 4 May 1916 – 25 April 2006) was an American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city-dwellers. Jacobs organized grassroots efforts to protect neighborhoods from urban renewal and slum clearance – in particular plans by Robert Moses to overhaul her own Greenwich Village neighborhood. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, which would have passed directly through an area of Manhattan that later became known as SoHo, as well as part of Little Italy and Chinatown. She was arrested in 1968 for inciting a crowd at a public hearing on that project. After moving to Toronto in 1968, she joined the opposition to the Spadina Expressway and the associated network of expressways in Toronto that were planned and under construction. As a woman and a writer who criticized experts in the male-dominated field of urban planning, Jacobs endured scorn from established figures. Routinely, she was described first as a housewife, as she did not have a college degree or any formal training in urban planning; as a result, her lack of credentials was seized upon as grounds for criticism. However, the influence of her concepts eventually was acknowledged by highly respected professionals such as Richard Florida and Robert Lucas. Early years Jacobs was born Jane Isabel Butzner in Scranton, Pennsylvania, the daughter of Bess Robison Butzner, a former teacher and nurse and John Decker Butzner, a physician. They were a Protestant family in a heavily Roman Catholic town. Her brother, John Decker Butzner, Jr., served as a judge on the United States Court of Appeals for the Fourth Circuit. After graduation from Scranton High School, she worked for a year as the unpaid assistant to the women's page editor at the Scranton Tribune. New York City In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which deviated some from the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in Manhattan, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. Career After attending Columbia University's School of General Studies for two years, Butzner found a job at Iron Age magazine. Her 1943 article on economic decline in Scranton was well publicized and led the Murray Corporation of America to locate a warplane factory there. Encouraged by this success, Butzner petitioned the War Production Board to support more operations in Scranton. Experiencing job discrimination at Iron Age, she also advocated for equal pay for women and for the right of workers to unionize. Amerika She became a feature writer for the Office of War Information and then a reporter for Amerika, a publication of the U.S. State Department in the Russian language. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson Street. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect. The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard. Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On 25 March 1952, Jacobs delivered her response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said: The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe... Architectural Forum Jacobs left Amerika in 1952 when it announced its relocation to Washington, D.C. She then found a well-paying job at Architectural Forum, published by Henry Luce of Time Inc. She was hired as an associate editor. After early success in that position, Jacobs began to take assignments on urban planning and "urban blight". In 1954, she was assigned to cover a development in Philadelphia designed by Edmund Bacon. Although her editors expected a positive story, Jacobs criticized Bacon's project, reacting against its lack of concern for the poor African Americans who were directly affected. When Bacon showed Jacobs examples of undeveloped and developed blocks, she determined that "development" seemed to end community life on the street. When Jacobs returned to the offices of Architectural Forum, she began to question the 1950s consensus on urban planning. In 1955, Jacobs met William Kirk, an Episcopal minister who worked in East Harlem. Kirk came to the Architectural Forum offices to describe the impact that "revitalization" had on East Harlem, and he introduced Jacobs to the neighborhood. In 1956, while standing in for Douglas Haskell of Architectural Forum, Jacobs delivered a lecture at Harvard University. She addressed leading architects, urban planners, and intellectuals (including Lewis Mumford), speaking on the topic of East Harlem. She urged this audience to "respect – in the deepest sense – strips of chaos that have a weird wisdom of their own not yet encompassed in our concept of urban order." Contrary to her expectations, the talk was received with enthusiasm, but it also marked her as a threat to established urban planners, real estate owners, and developers. Architectural Forum printed the speech that year, along with photographs of East Harlem. Rockefeller Foundation and Death and Life of Great American Cities After reading her Harvard speech, William H. Whyte invited Jacobs to write an article for Fortune magazine. The resulting piece, "Downtown Is for People", appeared in a 1958 issue of Fortune, and marked her first public criticism of Robert Moses. Her criticism of the Lincoln Center was not popular with supporters of urban renewal at Architectural Forum and Fortune. C.D. Jackson, the publisher of Fortune, was outraged and over the telephone, demanded of Whyte: "Who is this crazy dame?" The Fortune article brought Jacobs to the attention of Chadbourne Gilpatric, then associate director of the Humanities Division at the Rockefeller Foundation. The foundation had moved aggressively into urban topics, with a recent award to the Massachusetts Institute of Technology for studies of urban aesthetics that would culminate in the publication of Kevin A. Lynch's Image of the City. In May 1958, Gilpatric invited Jacobs to begin serving as a reviewer for grant proposals. Later that year, the Rockefeller Foundation awarded a grant to Jacobs to produce a critical study of city planning and urban life in the U.S. (From the mid-1950s to the mid-1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee.) Gilpatric encouraged Jacobs to "explor[e] the field of urban design to look for ideas and actions which may improve thinking on how the design of cities might better serve urban life, including cultural and humane value." Affiliating with The New School (then called The New School for Social Research), she spent three years conducting research and writing drafts. In 1961, Random House published the result: The Death and Life of Great American Cities.The Death and Life of Great American Cities remains one of the most influential books in the history of American city planning. She coined the terms "social capital", "mixed primary uses", and "eyes on the street", which were adopted professionally in urban design, sociology, and many other fields. Jacobs painted a devastating picture of the profession of city planning, labeling it a pseudoscience. This angered the male-dominated urban planning profession. Jacobs was criticized with ad hominem attacks, being called a "militant dame" and a "housewife": an amateur who had no right to interfere with an established discipline. One planner dismissed Jacobs's book as "bitter coffee-house rambling". Robert Moses, sent a copy, called it "intemperate and also libelous... Sell this junk to someone else." Later, her book was criticized from the left for leaving out race and openly endorsing gentrification, which Jacobs referred to as "unslumming". In 1962, she resigned her position at Architectural Forum to become a full-time author and concentrate on raising her children. In other political activities she became an opponent of the Vietnam War, marched on the Pentagon in October 1967, and criticized the construction of the World Trade Center as a disaster for Manhattan's waterfront. Struggle for Greenwich Village During the 1950s and 1960s, her home neighborhood of Greenwich Village was being transformed by city and state efforts to build housing (see, for example, Jacobs's 1961 fight to build the West Village Houses in lieu of large apartment houses), private developers, the expansion of New York University, and by the urban renewal plans of Robert Moses. Moses' plan, funded as "slum clearance" by Title I of the Housing Act of 1949, also called for several blocks to be razed and replaced with upscale high-rises. The plan forced 132 families out of their homes and displaced 1,000 small businesses—the result was Washington Square Village. As part of his efforts to revitalize the area, Moses had proposed the extension of Fifth Avenue through Washington Square Park in 1935. In the face of community opposition, Moses had shelved the project, but revived the idea in the 1950s. Moses argued that the Fifth Avenue extension would improve the flow of traffic through the neighborhood and provide access to the planned Lower Manhattan Expressway (LOMEX), which would connect the Manhattan Bridge and Williamsburg Bridge with the Holland Tunnel. In response, local activist Shirley Hayes created the "Committee to Save Washington Square Park", a coalition of dozens of local neighborhood groups that opposed the roadway extension. Raymond S. Rubinow eventually took over the organization, changing its name to the "Joint Emergency Committee to Close Washington Square to Traffic". Jacobs had joined the committee under Hayes, but she took a more prominent role under Rubinow, reaching out to media outlets such as The Village Voice, which provided more sympathetic coverage than The New York Times. The committee gained the support of Margaret Mead, Eleanor Roosevelt, Lewis Mumford, Charles Abrams, and William H. Whyte, as well as Carmine De Sapio, a Greenwich Village resident and influential Democratic leader. De Sapio's involvement proved decisive. On 25 June 1958, the city closed Washington Square Park to traffic, and the joint committee held a ribbon tying (not cutting) ceremony. Plans for LOMEX expressway continued despite growing community opposition in areas such as Little Italy. In the 1960s, Jacobs chaired the Joint Committee to Stop the Lower Manhattan Expressway. The New York Times was sympathetic to Moses, while The Village Voice covered community rallies and advocated against the expressway. Jacobs continued to fight the expressway when plans resurfaced in 1962, 1965, and 1968, and she became a local hero for her opposition to the project. She was arrested by a plainclothes police officer on April 10, 1968, at a public hearing during which the crowd had charged the stage and destroyed the stenographer's notes. She was accused of inciting a riot, criminal mischief, and obstructing public administration. After months of trials conducted in New York City (to which Jacobs commuted from Toronto), her charge was reduced to disorderly conduct.New York: A Documentary Film devoted an hour of the eight-part, seventeen-and-a-half-hour series to the battle between Moses and Jacobs. Robert Caro's biography of Moses, The Power Broker, gives only passing mention to this event, however, despite Jacobs's strong influence on Caro. In 2017, Caro told an interviewer about the difficulty in cutting more than 300,000 words from his initial manuscript: "The section that I wrote on Jane Jacobs disappeared. To this day, when someone says: 'There's hardly a mention of Jane Jacobs,' I think, 'But I wrote a lot about her.' Every time I'm asked about that, I have this sick feeling." Life in Toronto Soon after her arrest in 1968, Jacobs moved to Toronto, eventually settling at 69 Albany Avenue in The Annex from 1971 until her death in 2006. She decided to leave the U.S. in part because she opposed the Vietnam War, she worried about the fate of her two draft-age sons, and she did not want to continue fighting the New York City government. She and her husband chose Toronto because it was pleasant and offered employment opportunities, and they moved to an area of Toronto that included so many Americans avoiding the draft that it was called the "American ghetto". She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether cities were being built for people or for cars. She was arrested twice during demonstrations. She also had considerable influence on the regeneration of the St. Lawrence neighborhood, a housing project regarded as a major success. She became a Canadian citizen in 1974 and later, she told writer James Howard Kunstler that dual citizenship was not possible at the time, implying that her U.S. citizenship was lost. In 1980, she offered a more urban perspective on Quebec's sovereignty in her book, The Question of Separatism: Quebec and the Struggle over Separation. Jacobs was an advocate of a Province of Toronto to separate the city proper from Ontario. Jacobs said, "Cities, to thrive in the twenty-first century, must separate themselves politically from their surrounding areas." She was selected to be an officer of the Order of Canada in 1996 for her seminal writings and thought-provoking commentaries on urban development. The community and urban sociology section of the American Sociological Association awarded her its Outstanding Lifetime Contribution award in 2002. In 1997, the city government of Toronto sponsored a conference entitled, "Jane Jacobs: Ideas That Matter", which led to a book by the same name. At the end of the conference, the Jane Jacobs Prize was created. It includes an annual stipend of $5,000 for three years to be given to "celebrate Toronto's original, unsung heroes – by seeking out citizens who are engaged in activities that contribute to the city's vitality". Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and she was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a longshot. During the mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city waterfront to Toronto City Centre Airport (TCCA). Following the election, the Toronto city council's earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport was still in operation as of 2019. In lieu of the bridge, a pedestrian tunnel broke ground in March 2012. The tunnel opened on 30 July 2015. Jacobs also was active in a campaign against a plan of Royal St. George's College (an established school very close to the Jacobs residence in Toronto's Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but that the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school's plans, the decision later was reversed – and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing. She also had an influence on Vancouver's urban planning. Jacobs has been called "the mother of Vancouverism", referring to that city's use of her "density done well" philosophy. Jacobs died in Toronto Western Hospital aged 89, on 25 April 2006, apparently of a stroke. She was survived by a brother, James Butzner (d. 2009); a daughter, Burgin Jacobs, her sons, James and Ned of Vancouver, and by two grandchildren and two great-grandchildren. Upon her death her family's statement noted: "What's important is not that she died but that she lived, and that her life's work has greatly influenced the way we think. Please remember her by reading her books and implementing her ideas". Legacy Jacobs is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. She has been characterized as a major influence on decentralist and radical centrist thought. She discussed her legacy in an interview with Reason magazine. While Jacobs saw her greatest legacy to be her contributions to economic theory, it is in the realm of urban planning that she has had her most extensive effect. Her observations about the ways in which cities function revolutionized the urban planning profession and discredited many accepted planning models that had dominated mid-century planning. The influential Harvard Economist Edward Glaeser, known for his work on urban studies, acknowledged that Jane Jacobs (1960s) had been prescient in attacking Moses for "replacing well-functioning neighborhoods with Le Corbusier-inspired towers". Glaeser agreed that these housing projects proved to be Moses' greatest failures, "Moses spent millions and evicted tens of thousands to create buildings that became centers of crime, poverty, and despair." She also was famous for introducing concepts such as the "Ballet of the Sidewalk" and "Eyes on the Street", a reference to what would later be known as natural surveillance. The concept had a huge influence on planners and architects such as Oscar Newman, who prepared the idea through a series of studies that would culminate in his defensible space theory. The work of Jacobs and Newman would go on to affect American housing policy through the HOPE VI Program, an effort by the United States Department of Housing and Urban Development to demolish the high-rise public housing projects so reviled by Jacobs and to replace them with low-rise, mixed-income housing. Throughout her life, Jacobs fought to alter the way in which city development was approached. By arguing that cities were living beings and ecosystems, she advocated ideas such as "mixed use" development and bottom-up planning. Furthermore, her harsh criticisms of "slum clearing" and "high-rise housing" projects were instrumental in discrediting these once universally supported planning practices. Jacobs is remembered as being an advocate for the mindful development of cities, and for leaving "a legacy of empowerment for citizens to trust their common sense and become advocates for their place". Despite the fact that Jacobs mainly focused on New York City, her arguments have been identified as universal. For instance, her opposition against the demolition of urban neighborhoods for projects of urban renewal had "special resonance" in Melbourne, Australia. In Melbourne in the 1960s, resident associations fought against large-scale high-rise housing projects of the Housing Commission of Victoria, which they argued had little regard for the impact on local communities. Jacobs fought an uphill battle against dominant trends of planning. Despite the United States remaining very much a suburban nation, the work of Jacobs has contributed to city living being rehabilitated and revitalized. Because of her ideas, today, many distressed urban neighborhoods are more likely to be gentrified than cleared for redevelopment. Samuel R. Delany's book Times Square Red, Times Square Blue relies heavily on The Death and Life of Great American Cities in its analysis of the nature of social relations within the realm of urban studies. Jane Jacobs Days After the death of Jacobs in April 2006, New York City Mayor Michael Bloomberg announced a Jane Jacobs Day, held on June 28, 2006. The City of Toronto proclaimed her birthday the following year, May 4, 2007, as Jane Jacobs Day. Jane's Walks In connection with Jane Jacobs Day in Toronto, two dozen free neighborhood walks in the city were offered that weekend (5 May 2007) as an active memorial to Jacobs, and they were dubbed Jane's Walks. Later, a Jane's Walk event was held in New York on September 29–30, 2007. In 2008, the event spread to eight cities and towns throughout Canada, and by 2016, Jane's Walks were taking place in 212 cities in 36 countries, on six continents. The interpretive walks typically apply ideas Jacobs identified or espoused to local areas, which are explored on foot and sometimes by bicycle. The walks normally take place in early May, on or close to her May 4 birth anniversary. Walks are organized and led by local volunteers, coordinated by a headquarters office in Toronto. There are more than 200 walks offered in Toronto, alone, in 2016, taking place on May 6, 7, and 8. Exhibitions In 2016, to mark the hundredth birth anniversary of Jane Jacobs, a Toronto gallery staged "Jane at Home", an exhibition running from April 29-May 8. Curated by Jane's son, Jim Jacobs, it offered glimpses of her home life, where she also worked. Her Toronto living room was represented, based on the one at her Albany Avenue house in The Annex, where she often spoke with noted thinkers and political leaders including Marshall McLuhan, Paul Martin, and the Queen of the Netherlands. On display were her typewriter, original manuscripts, rediscovered photographs demonstrating her distinctive styles, and personal mementos. The exhibit included furniture from previous homes in New York (her dining room is set up) and from Scranton, Pennsylvania.Jane at Home , Urbanspace Gallery, Toronto, 2016 In 2007, the Municipal Art Society of New York partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York," which opened at the society in September that year. The exhibit aimed to educate the public on her writings and activism and used tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication included essays and articles by such architecture critics, artists, activists, and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors participated in a series of panel discussions on "Jane Jacobs and the Future of New York". Jane Jacobs Medal As a tribute to Jacobs, the Rockefeller Foundation, which had awarded grants to Jacobs in the 1950s and 1960s, announced on February 9, 2007, the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City". Recipients include: Barry Benepe, co-founder of the New York City Green Market program and a founding member of Transportation Alternatives, was awarded with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize in September 2007. The inaugural Jane Jacobs Medal for New Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization. Peggy Shepard, executive director of West Harlem Environmental Action, received the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, received the award for New Ideas and Activism. Both women received their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City. Damaris Reyes, executive director of Good Old Lower East Side (GOLES), received the 2009 Jane Jacobs Medal for New Ideas and Activism. Richard Kahan, as founder and CEO of the Urban Assembly, which created and manages 22 secondary public schools located in many of the lowest income neighborhoods in New York City, received the 2009 Jane Jacobs Medal for Lifetime Leadership. Both received $100,000, in addition to the medal. The 2010 recipients were Joshua David and Robert Hammond, whose work in establishing the High Line Park atop an unused elevated railroad line, led the foundation to award the 2010 Jane Jacobs Medal for New Ideas and Activism, along with $60,000 to each man. The 2010 Jane Jacobs Medal for Lifetime Leadership was given to Elizabeth Barlow Rogers, for her longtime work as writer, park administrator, and co-founder of Central Park Conservancy. She received $80,000 as well. The Canadian Urban Institute offers an award to honor her, the Jane Jacobs Lifetime Achievement Award, to recognize a person "who has had significant impact on the health of their region consistent with Jane Jacob's belief that successful cities foster a place-based, community-centered approach." The 2011 winner was Eberhard Zeidler, while his daughter, Margie Zeidler, won the 2015 award. In 2012, Anne Golden took the prize "for her long-standing leadership in public policy, her academic work and her varied leadership experience in business, not-for-profit and government sectors." William (Bill) Teron accepted the 2013 award "for his influential career in public policy and passionate advocacy for quality design and commitment to development in the Ottawa area." In 2014, Jack Diamond was recognized for his "contribution to improving the built form and advocacy for cities and the future of the Greater Toronto Area." In April 2014, Spacing was appointed the stewards of the Jane Jacobs Prize. Spacing, winners of the prize in 2010, has continued to provide the award with a new life and new ways of promoting (and finding) the winners. Other honors Jane Jacobs Way, West Village, New York City (Hudson Street and Eleventh Street, New York, New York) Jane Jacobs Park, 11 Wellesley Street West, Toronto (construction began in 2016) Jane Jacobs sculptural chairs, Victoria Memorial Square (St. John's Square), Toronto Jane Jacobs Toronto Legacy Plaque, 69 Albany Avenue, Toronto Jacobs' Ladder, rose bushes dedicated by Grassroots Albany (neighbors) in 1997, Toronto Jane Jacobs Street, Mount Pleasant, South Carolina Jane Jacobs Street (Village of Cheshire) Black Mountain, North Carolina a Google Doodle marked the 100th anniversary of Jacobs's birth, on May 4, 2016, and was featured on Google's homepage in 15 countries on four continents a conference room at the offices of the New Economics Foundation in London is named in honor of Jacobs Jacobs received the second Vincent Scully Prize from the National Building Museum in 2000. Jacobs is the subject of the 2017 documentary film Citizen Jane: Battle for the City, which depicts her victories over Robert Moses and her philosophy of urban design. In popular culture A fictionalized version of her is played by Alison Smith in a season 1 episode of the Amazon series The Marvelous Mrs. Maisel. The community organizer played by Cherry Jones in Motherless Brooklyn has drawn comparisons to Jane Jacobs. The director, Edward Norton, has clarified that the composite character was partially based on Jacobs, but more so on Hortense Gabel who was active a decade earlier. The URL of the Facebook group New Urbanist Memes for Transit-Oriented Teens (NUMTOT) is whatwouldjanejacobsdo. Criticism The planners and developers she fought against to preserve the West Village were among those who initially criticized her ideas. Robert Moses has generally been identified as her arch-rival during this period. Since then, Jacobs's ideas have been analysed many times, often in regard to the outcomes that their influences have produced.Glaeser, Edward L. (2010) Taller Buildings, Cheaper Homes. The New York Times, 4 May 2010 6:02 amOuroussoff, Nicolai (2006) Outgrowing Jane Jacobs and Her New York. The New York Times, Published 30 April 2006Bratishenko, Lev (2016) Jane Jacobs's Tunnel Vision Why our cities need less Jane Jacobs. Literary Review of Canada, October 2016 In places such as the West Village, the factors that she argued would maintain economic and cultural diversity have led instead to gentrification and some of the most expensive real estate in the world. Her family's conversion of an old candy shop into a home is an example of the gentrifying trend that would continue under the influence of Jacobs's ideas. Gentrification also was caused, however, by "the completely unexpected influx of affluent residents back into the inner city". The extent to which her ideas facilitated this phenomenon was at the time unimaginable. For example, she advocated the preservation of older buildings specifically because their lack of economic value made them affordable for poor people. In this respect, she saw them as "guarantors of social diversity". That many of these older structures have increased in economic value solely due to their age was implausible in 1961. Issues of gentrification have dominated criticism of Jane Jacobs's planning ideas. Economist Tyler Cowen has criticized her ideas for not addressing problems of scale or infrastructure, and suggests that economists disagree with some of her approaches to development. For example, although her ideas of planning were praised at times as "universal", they are now thought inapplicable when a city grows from one million to ten million (as has happened many times in developing nations). Such arguments suggest that her ideas apply only to cities with similar issues to those of New York, where Jacobs developed many of them. Works Jane Jacobs spent her life studying cities. Her books include: The Death and Life of Great American Cities The Death and Life of Great American Cities is her single-most influential book and, possibly, the most influential book on urban planning and cities. Published in 1961, this book was widely read by both planning professionals and the general public. The book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. In the book, she celebrates the diversity and complexity of old-mixed use neighborhoods while lamenting the monotony and sterility of modern planning. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and she frequently cited New York City's Greenwich Village as an example of a vibrant urban community. Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, although Caro does not mention Jacobs by name in the book despite Jacobs's battles with Moses over his proposed Lower Manhattan Expressway. Caro reportedly cut a chapter about Jacobs due to his book's length. Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and anecdotes. The Economy of Cities The thesis of this book is that cities are the primary drivers of economic development. Her main argument is that explosive economic growth derives from urban import replacement. Import replacement is the process of producing goods locally that formerly were imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased production is subsequently exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth. In an interview with Bill Steigerwald in Reason Magazine, Jacobs said that if she is remembered for being a great intellectual she will be remembered not for her work concerning city planning, but for the discovery of import replacement. Critics erroneously claim that her ideas parrot the idea of import substitution advanced earlier by scholars such as Andre Gunder Frank. Import substitution was a national economic theory implying that if a nation substituted its imports with national production, the nation would become wealthier, whereas Jacob's idea is entirely about cities and could be called urban import substitution. However, even this would lead to confusion since in practice, import substitution in India and Latin America were government subsidized and mandated, whereas Jacobs's concept of import replacement is a free market process of discovery and division of labor within a city. In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition. Another interpretation of history, generally and erroneously considered to be contradictory to Jacobs's is supported by Marxist archaeologist Vere Gordon Childe and in recent times, by another historical materialist Charles Keith Maisels These writers argue that agriculture preceded cities. The apparent opposition between Childe and Jacobs theories rests in their definition of 'city', 'civilization', or 'urban'. Childe, like other materialists such as Maisels or Henri Lefebvre defines 'urban' or 'civilization' as Synoecism—as a literate, socially stratified, monolithic political community, whereas, as one can see from The Economy of Cities or from Cities and the Wealth of Nations, Jacobs defines the city purely along the lines of geographically dense trade giving way to entrepreneurial discovery and subsequent improvements in the division of labor. Without the requirements of literacy, monumental building, or the signs of specialized civil and armed forces, 'cities' can be accurately be interpreted to exists thousands of years before when Childe and Maisels place them. However, the Jacobs definition is supposition, since 'city' is defined simply as a large town or "a large human settlement" indicating permanence. The earliest remains of mankind uncovered by archaeologists do not give us more information other than that they were hunter-gatherers as there is no evidence yet of farming or settlement, implying nomadic lifestyles until further discoveries are found. The Question of Separatism: Quebec and the Struggle over Sovereignty The Question of Separatism incorporated and expanded Jacobs's presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. It was published in 1980 and reprinted in 2011 with a previously-unpublished 2005 interview with Robin Philpot on the subject in which she evokes the relative overlooking of that book among her usual readership. This was the first time Jacobs was requested to discuss it in an interview. Columnist Richard Gwyn advanced that while not openly criticizing her, English-speaking Canadians readers thought she did not understood how Canadian politics worked and that she was not being helpful in a time of distress for national unity (the 1980 referendum was just defeated by a vote of 60%). The Question of Separatism was also not mentioned in the bibliography of her 2006 obituary in The Globe and Mail. Jacobs's book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway's secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada's historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example, Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories. The relevant public views of René Lévesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed, an example being their failure to recognize that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada, an issue that is central to her book. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that ultimately, such a need can never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive. Cities and the Wealth of Nations Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, although it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs argues that it is not the nation-state, rather it is the city that is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all. Systems of Survival Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgments related to work, collected and sorted them to find that they fit two patterns of moral behavior that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time. It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her system are applicable to both syndromes. Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York subway police are paid bonuses here – reinterpreted slightly as a part of the larger analysis. The Nature of Economies The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p. ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiation and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p. 82). Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems. Jacobs's characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p. 86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p. 119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p. 137). The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds. One particularly interesting insight is the creation of "something from nothing" – an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work". Dark Age Ahead Published in 2004 by Random House, Dark Age Ahead posits Jacobs's argument that "North American" civilization shows signs of a spiral decline comparable to the collapse of the Roman empire. Her discussion focuses on "five pillars of our culture that we depend on to stand firm", which can be summarized as the nuclear family and community; quality in education; free thought in science; representational government and responsible taxes; and corporate and professional accountability. As the title of this book suggests, Jacobs's outlook is far more pessimistic than that of her previous works. However, in the conclusion she admits: "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true." While Jacobs idealized U.S. democracy, Dark Age Ahead echoes the skepticism and disappointment that led to her emigration to Canada in 1968. Later, she would indicate that North American cultures, among others, were grounded in a "plantation mentality" that was culturally and ecologically unsustainable. Orthodox urbanism Jane Jacobs asserts in her work, The Death and Life of Great American Cities, that the sources of orthodox urbanism are: Garden Cities of Tomorrow, Ebenezer Howard The Culture of Cities, Lewis Mumford Cities in Evolution, Sir Patrick Geddes Modern Housing, Catherine Bauer Toward New Towns for America, Clarence Stein Nothing Gained by Overcrowding, Sir Raymond Unwin The City of Tomorrow and Its Planning, Le Corbusier Writings Constitutional chaff; rejected suggestions of the Constitutional Convention of 1787, with explanatory argument Compiled by Jane Butzner, (1941) Columbia University Press; Compiled by Jane Jacobs (Née Butzner), Reprinted 1970 by Kennikat Press, Port Washington, New York. The Death and Life of Great American Cities (1961) New York: Random House. The Economy of Cities (1969) The Question of Separatism: Quebec and the Struggle over Sovereignty (1980 Random House and 2011 Baraka Books) Cities and the Wealth of Nations (1985) The Girl on the Hat (Children's Book Illustrated by Karen Reczuch), (June 1990) Oxford University Press. Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics (1992) A Schoolteacher in Old Alaska – The Story of Hannah Breece (1995) Random House of Canada. The Nature of Economies (2000) New York: Random House, The Modern Library. Dark Age Ahead (2004) Vital Little Plans: The Short Works of Jane Jacobs'' (2016) New York: Random House. See also David Crombie Fred Gardiner Innovation Economics Urban secession Urban vitality References Bibliography Further reading External links Jane Jacobs's Order of Canada Citation Jane Jacobs's Papers at John J. Burns Library, Boston College Jane Jacobs Oral History, 1997 Greenwich Village Society for Historic Preservation Jane Jacobs's Legacy, City Journal online, July 31, 2009 1916 births 2006 deaths American architecture writers Naturalized citizens of Canada Tax resisters Women urban planners Anti-road protest Canadian architecture writers Canadian women non-fiction writers Canadian social commentators Interstate 78 Members of the Order of Ontario Moral philosophers Officers of the Order of Canada People from Greenwich Village Writers from Scranton, Pennsylvania Radical centrist writers Urban theorists Environmental economists Writers from Toronto Columbia University School of General Studies alumni American emigrants to Canada Women's page journalists

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What was her fist love

What Janet Jacob's first love?

Jane Jacobs

In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. CANNOTANSWER

Jane Butzner took an immediate liking to Manhattan's Greenwich Village,

{{Infobox person |image = Jane Jacobs.jpg |imagesize = |caption = Jacobs as chair of a Greenwich Village civic group at a 1961 press conference |name = Jane Jacobs |honorific_suffix = |birth_name = Jane Butzner |birth_date = |birth_place = Scranton, Pennsylvania, U.S. |death_date = |death_place = Toronto, Ontario, Canada |education = Graduate of Scranton Central High School; two years of undergraduate studies at Columbia University |occupation = Journalist, author, urban theorist |employer = Amerika, Architectural Forum |notable_works = The Death and Life of Great American Cities |organization = Joint Committee to Stop the Lower Manhattan Expressway, Stop Spadina Save Our City Coordinating Committee Carlos Moreno<ref>Willsher, Kim, Paris mayor unveils '15-minute city' plan in re-election campaign, The Guardian, Friday, February 7, 2020</ref> |awards = OC, OOnt, Vincent Scully Prize, National Building Museum |spouse = Robert Jacobs |children = Ned Jacobs, James Jacobs, Mary Burgin Jacobs }} Jane Jacobs (née Butzner; 4 May 1916 – 25 April 2006) was an American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city-dwellers. Jacobs organized grassroots efforts to protect neighborhoods from urban renewal and slum clearance – in particular plans by Robert Moses to overhaul her own Greenwich Village neighborhood. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, which would have passed directly through an area of Manhattan that later became known as SoHo, as well as part of Little Italy and Chinatown. She was arrested in 1968 for inciting a crowd at a public hearing on that project. After moving to Toronto in 1968, she joined the opposition to the Spadina Expressway and the associated network of expressways in Toronto that were planned and under construction. As a woman and a writer who criticized experts in the male-dominated field of urban planning, Jacobs endured scorn from established figures. Routinely, she was described first as a housewife, as she did not have a college degree or any formal training in urban planning; as a result, her lack of credentials was seized upon as grounds for criticism. However, the influence of her concepts eventually was acknowledged by highly respected professionals such as Richard Florida and Robert Lucas. Early years Jacobs was born Jane Isabel Butzner in Scranton, Pennsylvania, the daughter of Bess Robison Butzner, a former teacher and nurse and John Decker Butzner, a physician. They were a Protestant family in a heavily Roman Catholic town. Her brother, John Decker Butzner, Jr., served as a judge on the United States Court of Appeals for the Fourth Circuit. After graduation from Scranton High School, she worked for a year as the unpaid assistant to the women's page editor at the Scranton Tribune. New York City In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which deviated some from the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in Manhattan, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. Career After attending Columbia University's School of General Studies for two years, Butzner found a job at Iron Age magazine. Her 1943 article on economic decline in Scranton was well publicized and led the Murray Corporation of America to locate a warplane factory there. Encouraged by this success, Butzner petitioned the War Production Board to support more operations in Scranton. Experiencing job discrimination at Iron Age, she also advocated for equal pay for women and for the right of workers to unionize. Amerika She became a feature writer for the Office of War Information and then a reporter for Amerika, a publication of the U.S. State Department in the Russian language. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson Street. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect. The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard. Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On 25 March 1952, Jacobs delivered her response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said: The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe... Architectural Forum Jacobs left Amerika in 1952 when it announced its relocation to Washington, D.C. She then found a well-paying job at Architectural Forum, published by Henry Luce of Time Inc. She was hired as an associate editor. After early success in that position, Jacobs began to take assignments on urban planning and "urban blight". In 1954, she was assigned to cover a development in Philadelphia designed by Edmund Bacon. Although her editors expected a positive story, Jacobs criticized Bacon's project, reacting against its lack of concern for the poor African Americans who were directly affected. When Bacon showed Jacobs examples of undeveloped and developed blocks, she determined that "development" seemed to end community life on the street. When Jacobs returned to the offices of Architectural Forum, she began to question the 1950s consensus on urban planning. In 1955, Jacobs met William Kirk, an Episcopal minister who worked in East Harlem. Kirk came to the Architectural Forum offices to describe the impact that "revitalization" had on East Harlem, and he introduced Jacobs to the neighborhood. In 1956, while standing in for Douglas Haskell of Architectural Forum, Jacobs delivered a lecture at Harvard University. She addressed leading architects, urban planners, and intellectuals (including Lewis Mumford), speaking on the topic of East Harlem. She urged this audience to "respect – in the deepest sense – strips of chaos that have a weird wisdom of their own not yet encompassed in our concept of urban order." Contrary to her expectations, the talk was received with enthusiasm, but it also marked her as a threat to established urban planners, real estate owners, and developers. Architectural Forum printed the speech that year, along with photographs of East Harlem. Rockefeller Foundation and Death and Life of Great American Cities After reading her Harvard speech, William H. Whyte invited Jacobs to write an article for Fortune magazine. The resulting piece, "Downtown Is for People", appeared in a 1958 issue of Fortune, and marked her first public criticism of Robert Moses. Her criticism of the Lincoln Center was not popular with supporters of urban renewal at Architectural Forum and Fortune. C.D. Jackson, the publisher of Fortune, was outraged and over the telephone, demanded of Whyte: "Who is this crazy dame?" The Fortune article brought Jacobs to the attention of Chadbourne Gilpatric, then associate director of the Humanities Division at the Rockefeller Foundation. The foundation had moved aggressively into urban topics, with a recent award to the Massachusetts Institute of Technology for studies of urban aesthetics that would culminate in the publication of Kevin A. Lynch's Image of the City. In May 1958, Gilpatric invited Jacobs to begin serving as a reviewer for grant proposals. Later that year, the Rockefeller Foundation awarded a grant to Jacobs to produce a critical study of city planning and urban life in the U.S. (From the mid-1950s to the mid-1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee.) Gilpatric encouraged Jacobs to "explor[e] the field of urban design to look for ideas and actions which may improve thinking on how the design of cities might better serve urban life, including cultural and humane value." Affiliating with The New School (then called The New School for Social Research), she spent three years conducting research and writing drafts. In 1961, Random House published the result: The Death and Life of Great American Cities.The Death and Life of Great American Cities remains one of the most influential books in the history of American city planning. She coined the terms "social capital", "mixed primary uses", and "eyes on the street", which were adopted professionally in urban design, sociology, and many other fields. Jacobs painted a devastating picture of the profession of city planning, labeling it a pseudoscience. This angered the male-dominated urban planning profession. Jacobs was criticized with ad hominem attacks, being called a "militant dame" and a "housewife": an amateur who had no right to interfere with an established discipline. One planner dismissed Jacobs's book as "bitter coffee-house rambling". Robert Moses, sent a copy, called it "intemperate and also libelous... Sell this junk to someone else." Later, her book was criticized from the left for leaving out race and openly endorsing gentrification, which Jacobs referred to as "unslumming". In 1962, she resigned her position at Architectural Forum to become a full-time author and concentrate on raising her children. In other political activities she became an opponent of the Vietnam War, marched on the Pentagon in October 1967, and criticized the construction of the World Trade Center as a disaster for Manhattan's waterfront. Struggle for Greenwich Village During the 1950s and 1960s, her home neighborhood of Greenwich Village was being transformed by city and state efforts to build housing (see, for example, Jacobs's 1961 fight to build the West Village Houses in lieu of large apartment houses), private developers, the expansion of New York University, and by the urban renewal plans of Robert Moses. Moses' plan, funded as "slum clearance" by Title I of the Housing Act of 1949, also called for several blocks to be razed and replaced with upscale high-rises. The plan forced 132 families out of their homes and displaced 1,000 small businesses—the result was Washington Square Village. As part of his efforts to revitalize the area, Moses had proposed the extension of Fifth Avenue through Washington Square Park in 1935. In the face of community opposition, Moses had shelved the project, but revived the idea in the 1950s. Moses argued that the Fifth Avenue extension would improve the flow of traffic through the neighborhood and provide access to the planned Lower Manhattan Expressway (LOMEX), which would connect the Manhattan Bridge and Williamsburg Bridge with the Holland Tunnel. In response, local activist Shirley Hayes created the "Committee to Save Washington Square Park", a coalition of dozens of local neighborhood groups that opposed the roadway extension. Raymond S. Rubinow eventually took over the organization, changing its name to the "Joint Emergency Committee to Close Washington Square to Traffic". Jacobs had joined the committee under Hayes, but she took a more prominent role under Rubinow, reaching out to media outlets such as The Village Voice, which provided more sympathetic coverage than The New York Times. The committee gained the support of Margaret Mead, Eleanor Roosevelt, Lewis Mumford, Charles Abrams, and William H. Whyte, as well as Carmine De Sapio, a Greenwich Village resident and influential Democratic leader. De Sapio's involvement proved decisive. On 25 June 1958, the city closed Washington Square Park to traffic, and the joint committee held a ribbon tying (not cutting) ceremony. Plans for LOMEX expressway continued despite growing community opposition in areas such as Little Italy. In the 1960s, Jacobs chaired the Joint Committee to Stop the Lower Manhattan Expressway. The New York Times was sympathetic to Moses, while The Village Voice covered community rallies and advocated against the expressway. Jacobs continued to fight the expressway when plans resurfaced in 1962, 1965, and 1968, and she became a local hero for her opposition to the project. She was arrested by a plainclothes police officer on April 10, 1968, at a public hearing during which the crowd had charged the stage and destroyed the stenographer's notes. She was accused of inciting a riot, criminal mischief, and obstructing public administration. After months of trials conducted in New York City (to which Jacobs commuted from Toronto), her charge was reduced to disorderly conduct.New York: A Documentary Film devoted an hour of the eight-part, seventeen-and-a-half-hour series to the battle between Moses and Jacobs. Robert Caro's biography of Moses, The Power Broker, gives only passing mention to this event, however, despite Jacobs's strong influence on Caro. In 2017, Caro told an interviewer about the difficulty in cutting more than 300,000 words from his initial manuscript: "The section that I wrote on Jane Jacobs disappeared. To this day, when someone says: 'There's hardly a mention of Jane Jacobs,' I think, 'But I wrote a lot about her.' Every time I'm asked about that, I have this sick feeling." Life in Toronto Soon after her arrest in 1968, Jacobs moved to Toronto, eventually settling at 69 Albany Avenue in The Annex from 1971 until her death in 2006. She decided to leave the U.S. in part because she opposed the Vietnam War, she worried about the fate of her two draft-age sons, and she did not want to continue fighting the New York City government. She and her husband chose Toronto because it was pleasant and offered employment opportunities, and they moved to an area of Toronto that included so many Americans avoiding the draft that it was called the "American ghetto". She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether cities were being built for people or for cars. She was arrested twice during demonstrations. She also had considerable influence on the regeneration of the St. Lawrence neighborhood, a housing project regarded as a major success. She became a Canadian citizen in 1974 and later, she told writer James Howard Kunstler that dual citizenship was not possible at the time, implying that her U.S. citizenship was lost. In 1980, she offered a more urban perspective on Quebec's sovereignty in her book, The Question of Separatism: Quebec and the Struggle over Separation. Jacobs was an advocate of a Province of Toronto to separate the city proper from Ontario. Jacobs said, "Cities, to thrive in the twenty-first century, must separate themselves politically from their surrounding areas." She was selected to be an officer of the Order of Canada in 1996 for her seminal writings and thought-provoking commentaries on urban development. The community and urban sociology section of the American Sociological Association awarded her its Outstanding Lifetime Contribution award in 2002. In 1997, the city government of Toronto sponsored a conference entitled, "Jane Jacobs: Ideas That Matter", which led to a book by the same name. At the end of the conference, the Jane Jacobs Prize was created. It includes an annual stipend of $5,000 for three years to be given to "celebrate Toronto's original, unsung heroes – by seeking out citizens who are engaged in activities that contribute to the city's vitality". Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and she was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a longshot. During the mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city waterfront to Toronto City Centre Airport (TCCA). Following the election, the Toronto city council's earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport was still in operation as of 2019. In lieu of the bridge, a pedestrian tunnel broke ground in March 2012. The tunnel opened on 30 July 2015. Jacobs also was active in a campaign against a plan of Royal St. George's College (an established school very close to the Jacobs residence in Toronto's Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but that the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school's plans, the decision later was reversed – and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing. She also had an influence on Vancouver's urban planning. Jacobs has been called "the mother of Vancouverism", referring to that city's use of her "density done well" philosophy. Jacobs died in Toronto Western Hospital aged 89, on 25 April 2006, apparently of a stroke. She was survived by a brother, James Butzner (d. 2009); a daughter, Burgin Jacobs, her sons, James and Ned of Vancouver, and by two grandchildren and two great-grandchildren. Upon her death her family's statement noted: "What's important is not that she died but that she lived, and that her life's work has greatly influenced the way we think. Please remember her by reading her books and implementing her ideas". Legacy Jacobs is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. She has been characterized as a major influence on decentralist and radical centrist thought. She discussed her legacy in an interview with Reason magazine. While Jacobs saw her greatest legacy to be her contributions to economic theory, it is in the realm of urban planning that she has had her most extensive effect. Her observations about the ways in which cities function revolutionized the urban planning profession and discredited many accepted planning models that had dominated mid-century planning. The influential Harvard Economist Edward Glaeser, known for his work on urban studies, acknowledged that Jane Jacobs (1960s) had been prescient in attacking Moses for "replacing well-functioning neighborhoods with Le Corbusier-inspired towers". Glaeser agreed that these housing projects proved to be Moses' greatest failures, "Moses spent millions and evicted tens of thousands to create buildings that became centers of crime, poverty, and despair." She also was famous for introducing concepts such as the "Ballet of the Sidewalk" and "Eyes on the Street", a reference to what would later be known as natural surveillance. The concept had a huge influence on planners and architects such as Oscar Newman, who prepared the idea through a series of studies that would culminate in his defensible space theory. The work of Jacobs and Newman would go on to affect American housing policy through the HOPE VI Program, an effort by the United States Department of Housing and Urban Development to demolish the high-rise public housing projects so reviled by Jacobs and to replace them with low-rise, mixed-income housing. Throughout her life, Jacobs fought to alter the way in which city development was approached. By arguing that cities were living beings and ecosystems, she advocated ideas such as "mixed use" development and bottom-up planning. Furthermore, her harsh criticisms of "slum clearing" and "high-rise housing" projects were instrumental in discrediting these once universally supported planning practices. Jacobs is remembered as being an advocate for the mindful development of cities, and for leaving "a legacy of empowerment for citizens to trust their common sense and become advocates for their place". Despite the fact that Jacobs mainly focused on New York City, her arguments have been identified as universal. For instance, her opposition against the demolition of urban neighborhoods for projects of urban renewal had "special resonance" in Melbourne, Australia. In Melbourne in the 1960s, resident associations fought against large-scale high-rise housing projects of the Housing Commission of Victoria, which they argued had little regard for the impact on local communities. Jacobs fought an uphill battle against dominant trends of planning. Despite the United States remaining very much a suburban nation, the work of Jacobs has contributed to city living being rehabilitated and revitalized. Because of her ideas, today, many distressed urban neighborhoods are more likely to be gentrified than cleared for redevelopment. Samuel R. Delany's book Times Square Red, Times Square Blue relies heavily on The Death and Life of Great American Cities in its analysis of the nature of social relations within the realm of urban studies. Jane Jacobs Days After the death of Jacobs in April 2006, New York City Mayor Michael Bloomberg announced a Jane Jacobs Day, held on June 28, 2006. The City of Toronto proclaimed her birthday the following year, May 4, 2007, as Jane Jacobs Day. Jane's Walks In connection with Jane Jacobs Day in Toronto, two dozen free neighborhood walks in the city were offered that weekend (5 May 2007) as an active memorial to Jacobs, and they were dubbed Jane's Walks. Later, a Jane's Walk event was held in New York on September 29–30, 2007. In 2008, the event spread to eight cities and towns throughout Canada, and by 2016, Jane's Walks were taking place in 212 cities in 36 countries, on six continents. The interpretive walks typically apply ideas Jacobs identified or espoused to local areas, which are explored on foot and sometimes by bicycle. The walks normally take place in early May, on or close to her May 4 birth anniversary. Walks are organized and led by local volunteers, coordinated by a headquarters office in Toronto. There are more than 200 walks offered in Toronto, alone, in 2016, taking place on May 6, 7, and 8. Exhibitions In 2016, to mark the hundredth birth anniversary of Jane Jacobs, a Toronto gallery staged "Jane at Home", an exhibition running from April 29-May 8. Curated by Jane's son, Jim Jacobs, it offered glimpses of her home life, where she also worked. Her Toronto living room was represented, based on the one at her Albany Avenue house in The Annex, where she often spoke with noted thinkers and political leaders including Marshall McLuhan, Paul Martin, and the Queen of the Netherlands. On display were her typewriter, original manuscripts, rediscovered photographs demonstrating her distinctive styles, and personal mementos. The exhibit included furniture from previous homes in New York (her dining room is set up) and from Scranton, Pennsylvania.Jane at Home , Urbanspace Gallery, Toronto, 2016 In 2007, the Municipal Art Society of New York partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York," which opened at the society in September that year. The exhibit aimed to educate the public on her writings and activism and used tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication included essays and articles by such architecture critics, artists, activists, and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors participated in a series of panel discussions on "Jane Jacobs and the Future of New York". Jane Jacobs Medal As a tribute to Jacobs, the Rockefeller Foundation, which had awarded grants to Jacobs in the 1950s and 1960s, announced on February 9, 2007, the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City". Recipients include: Barry Benepe, co-founder of the New York City Green Market program and a founding member of Transportation Alternatives, was awarded with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize in September 2007. The inaugural Jane Jacobs Medal for New Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization. Peggy Shepard, executive director of West Harlem Environmental Action, received the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, received the award for New Ideas and Activism. Both women received their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City. Damaris Reyes, executive director of Good Old Lower East Side (GOLES), received the 2009 Jane Jacobs Medal for New Ideas and Activism. Richard Kahan, as founder and CEO of the Urban Assembly, which created and manages 22 secondary public schools located in many of the lowest income neighborhoods in New York City, received the 2009 Jane Jacobs Medal for Lifetime Leadership. Both received $100,000, in addition to the medal. The 2010 recipients were Joshua David and Robert Hammond, whose work in establishing the High Line Park atop an unused elevated railroad line, led the foundation to award the 2010 Jane Jacobs Medal for New Ideas and Activism, along with $60,000 to each man. The 2010 Jane Jacobs Medal for Lifetime Leadership was given to Elizabeth Barlow Rogers, for her longtime work as writer, park administrator, and co-founder of Central Park Conservancy. She received $80,000 as well. The Canadian Urban Institute offers an award to honor her, the Jane Jacobs Lifetime Achievement Award, to recognize a person "who has had significant impact on the health of their region consistent with Jane Jacob's belief that successful cities foster a place-based, community-centered approach." The 2011 winner was Eberhard Zeidler, while his daughter, Margie Zeidler, won the 2015 award. In 2012, Anne Golden took the prize "for her long-standing leadership in public policy, her academic work and her varied leadership experience in business, not-for-profit and government sectors." William (Bill) Teron accepted the 2013 award "for his influential career in public policy and passionate advocacy for quality design and commitment to development in the Ottawa area." In 2014, Jack Diamond was recognized for his "contribution to improving the built form and advocacy for cities and the future of the Greater Toronto Area." In April 2014, Spacing was appointed the stewards of the Jane Jacobs Prize. Spacing, winners of the prize in 2010, has continued to provide the award with a new life and new ways of promoting (and finding) the winners. Other honors Jane Jacobs Way, West Village, New York City (Hudson Street and Eleventh Street, New York, New York) Jane Jacobs Park, 11 Wellesley Street West, Toronto (construction began in 2016) Jane Jacobs sculptural chairs, Victoria Memorial Square (St. John's Square), Toronto Jane Jacobs Toronto Legacy Plaque, 69 Albany Avenue, Toronto Jacobs' Ladder, rose bushes dedicated by Grassroots Albany (neighbors) in 1997, Toronto Jane Jacobs Street, Mount Pleasant, South Carolina Jane Jacobs Street (Village of Cheshire) Black Mountain, North Carolina a Google Doodle marked the 100th anniversary of Jacobs's birth, on May 4, 2016, and was featured on Google's homepage in 15 countries on four continents a conference room at the offices of the New Economics Foundation in London is named in honor of Jacobs Jacobs received the second Vincent Scully Prize from the National Building Museum in 2000. Jacobs is the subject of the 2017 documentary film Citizen Jane: Battle for the City, which depicts her victories over Robert Moses and her philosophy of urban design. In popular culture A fictionalized version of her is played by Alison Smith in a season 1 episode of the Amazon series The Marvelous Mrs. Maisel. The community organizer played by Cherry Jones in Motherless Brooklyn has drawn comparisons to Jane Jacobs. The director, Edward Norton, has clarified that the composite character was partially based on Jacobs, but more so on Hortense Gabel who was active a decade earlier. The URL of the Facebook group New Urbanist Memes for Transit-Oriented Teens (NUMTOT) is whatwouldjanejacobsdo. Criticism The planners and developers she fought against to preserve the West Village were among those who initially criticized her ideas. Robert Moses has generally been identified as her arch-rival during this period. Since then, Jacobs's ideas have been analysed many times, often in regard to the outcomes that their influences have produced.Glaeser, Edward L. (2010) Taller Buildings, Cheaper Homes. The New York Times, 4 May 2010 6:02 amOuroussoff, Nicolai (2006) Outgrowing Jane Jacobs and Her New York. The New York Times, Published 30 April 2006Bratishenko, Lev (2016) Jane Jacobs's Tunnel Vision Why our cities need less Jane Jacobs. Literary Review of Canada, October 2016 In places such as the West Village, the factors that she argued would maintain economic and cultural diversity have led instead to gentrification and some of the most expensive real estate in the world. Her family's conversion of an old candy shop into a home is an example of the gentrifying trend that would continue under the influence of Jacobs's ideas. Gentrification also was caused, however, by "the completely unexpected influx of affluent residents back into the inner city". The extent to which her ideas facilitated this phenomenon was at the time unimaginable. For example, she advocated the preservation of older buildings specifically because their lack of economic value made them affordable for poor people. In this respect, she saw them as "guarantors of social diversity". That many of these older structures have increased in economic value solely due to their age was implausible in 1961. Issues of gentrification have dominated criticism of Jane Jacobs's planning ideas. Economist Tyler Cowen has criticized her ideas for not addressing problems of scale or infrastructure, and suggests that economists disagree with some of her approaches to development. For example, although her ideas of planning were praised at times as "universal", they are now thought inapplicable when a city grows from one million to ten million (as has happened many times in developing nations). Such arguments suggest that her ideas apply only to cities with similar issues to those of New York, where Jacobs developed many of them. Works Jane Jacobs spent her life studying cities. Her books include: The Death and Life of Great American Cities The Death and Life of Great American Cities is her single-most influential book and, possibly, the most influential book on urban planning and cities. Published in 1961, this book was widely read by both planning professionals and the general public. The book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. In the book, she celebrates the diversity and complexity of old-mixed use neighborhoods while lamenting the monotony and sterility of modern planning. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and she frequently cited New York City's Greenwich Village as an example of a vibrant urban community. Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, although Caro does not mention Jacobs by name in the book despite Jacobs's battles with Moses over his proposed Lower Manhattan Expressway. Caro reportedly cut a chapter about Jacobs due to his book's length. Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and anecdotes. The Economy of Cities The thesis of this book is that cities are the primary drivers of economic development. Her main argument is that explosive economic growth derives from urban import replacement. Import replacement is the process of producing goods locally that formerly were imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased production is subsequently exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth. In an interview with Bill Steigerwald in Reason Magazine, Jacobs said that if she is remembered for being a great intellectual she will be remembered not for her work concerning city planning, but for the discovery of import replacement. Critics erroneously claim that her ideas parrot the idea of import substitution advanced earlier by scholars such as Andre Gunder Frank. Import substitution was a national economic theory implying that if a nation substituted its imports with national production, the nation would become wealthier, whereas Jacob's idea is entirely about cities and could be called urban import substitution. However, even this would lead to confusion since in practice, import substitution in India and Latin America were government subsidized and mandated, whereas Jacobs's concept of import replacement is a free market process of discovery and division of labor within a city. In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition. Another interpretation of history, generally and erroneously considered to be contradictory to Jacobs's is supported by Marxist archaeologist Vere Gordon Childe and in recent times, by another historical materialist Charles Keith Maisels These writers argue that agriculture preceded cities. The apparent opposition between Childe and Jacobs theories rests in their definition of 'city', 'civilization', or 'urban'. Childe, like other materialists such as Maisels or Henri Lefebvre defines 'urban' or 'civilization' as Synoecism—as a literate, socially stratified, monolithic political community, whereas, as one can see from The Economy of Cities or from Cities and the Wealth of Nations, Jacobs defines the city purely along the lines of geographically dense trade giving way to entrepreneurial discovery and subsequent improvements in the division of labor. Without the requirements of literacy, monumental building, or the signs of specialized civil and armed forces, 'cities' can be accurately be interpreted to exists thousands of years before when Childe and Maisels place them. However, the Jacobs definition is supposition, since 'city' is defined simply as a large town or "a large human settlement" indicating permanence. The earliest remains of mankind uncovered by archaeologists do not give us more information other than that they were hunter-gatherers as there is no evidence yet of farming or settlement, implying nomadic lifestyles until further discoveries are found. The Question of Separatism: Quebec and the Struggle over Sovereignty The Question of Separatism incorporated and expanded Jacobs's presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. It was published in 1980 and reprinted in 2011 with a previously-unpublished 2005 interview with Robin Philpot on the subject in which she evokes the relative overlooking of that book among her usual readership. This was the first time Jacobs was requested to discuss it in an interview. Columnist Richard Gwyn advanced that while not openly criticizing her, English-speaking Canadians readers thought she did not understood how Canadian politics worked and that she was not being helpful in a time of distress for national unity (the 1980 referendum was just defeated by a vote of 60%). The Question of Separatism was also not mentioned in the bibliography of her 2006 obituary in The Globe and Mail. Jacobs's book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway's secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada's historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example, Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories. The relevant public views of René Lévesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed, an example being their failure to recognize that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada, an issue that is central to her book. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that ultimately, such a need can never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive. Cities and the Wealth of Nations Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, although it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs argues that it is not the nation-state, rather it is the city that is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all. Systems of Survival Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgments related to work, collected and sorted them to find that they fit two patterns of moral behavior that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time. It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her system are applicable to both syndromes. Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York subway police are paid bonuses here – reinterpreted slightly as a part of the larger analysis. The Nature of Economies The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p. ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiation and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p. 82). Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems. Jacobs's characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p. 86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p. 119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p. 137). The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds. One particularly interesting insight is the creation of "something from nothing" – an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work". Dark Age Ahead Published in 2004 by Random House, Dark Age Ahead posits Jacobs's argument that "North American" civilization shows signs of a spiral decline comparable to the collapse of the Roman empire. Her discussion focuses on "five pillars of our culture that we depend on to stand firm", which can be summarized as the nuclear family and community; quality in education; free thought in science; representational government and responsible taxes; and corporate and professional accountability. As the title of this book suggests, Jacobs's outlook is far more pessimistic than that of her previous works. However, in the conclusion she admits: "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true." While Jacobs idealized U.S. democracy, Dark Age Ahead echoes the skepticism and disappointment that led to her emigration to Canada in 1968. Later, she would indicate that North American cultures, among others, were grounded in a "plantation mentality" that was culturally and ecologically unsustainable. Orthodox urbanism Jane Jacobs asserts in her work, The Death and Life of Great American Cities, that the sources of orthodox urbanism are: Garden Cities of Tomorrow, Ebenezer Howard The Culture of Cities, Lewis Mumford Cities in Evolution, Sir Patrick Geddes Modern Housing, Catherine Bauer Toward New Towns for America, Clarence Stein Nothing Gained by Overcrowding, Sir Raymond Unwin The City of Tomorrow and Its Planning, Le Corbusier Writings Constitutional chaff; rejected suggestions of the Constitutional Convention of 1787, with explanatory argument Compiled by Jane Butzner, (1941) Columbia University Press; Compiled by Jane Jacobs (Née Butzner), Reprinted 1970 by Kennikat Press, Port Washington, New York. The Death and Life of Great American Cities (1961) New York: Random House. The Economy of Cities (1969) The Question of Separatism: Quebec and the Struggle over Sovereignty (1980 Random House and 2011 Baraka Books) Cities and the Wealth of Nations (1985) The Girl on the Hat (Children's Book Illustrated by Karen Reczuch), (June 1990) Oxford University Press. Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics (1992) A Schoolteacher in Old Alaska – The Story of Hannah Breece (1995) Random House of Canada. The Nature of Economies (2000) New York: Random House, The Modern Library. Dark Age Ahead (2004) Vital Little Plans: The Short Works of Jane Jacobs'' (2016) New York: Random House. See also David Crombie Fred Gardiner Innovation Economics Urban secession Urban vitality References Bibliography Further reading External links Jane Jacobs's Order of Canada Citation Jane Jacobs's Papers at John J. Burns Library, Boston College Jane Jacobs Oral History, 1997 Greenwich Village Society for Historic Preservation Jane Jacobs's Legacy, City Journal online, July 31, 2009 1916 births 2006 deaths American architecture writers Naturalized citizens of Canada Tax resisters Women urban planners Anti-road protest Canadian architecture writers Canadian women non-fiction writers Canadian social commentators Interstate 78 Members of the Order of Ontario Moral philosophers Officers of the Order of Canada People from Greenwich Village Writers from Scranton, Pennsylvania Radical centrist writers Urban theorists Environmental economists Writers from Toronto Columbia University School of General Studies alumni American emigrants to Canada Women's page journalists

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Why

Why did Jane Butzner took an immediate liking to Manhattan's Greenwich Village,?

Jane Jacobs

In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. CANNOTANSWER

which did not conform to the city's grid structure.

{{Infobox person |image = Jane Jacobs.jpg |imagesize = |caption = Jacobs as chair of a Greenwich Village civic group at a 1961 press conference |name = Jane Jacobs |honorific_suffix = |birth_name = Jane Butzner |birth_date = |birth_place = Scranton, Pennsylvania, U.S. |death_date = |death_place = Toronto, Ontario, Canada |education = Graduate of Scranton Central High School; two years of undergraduate studies at Columbia University |occupation = Journalist, author, urban theorist |employer = Amerika, Architectural Forum |notable_works = The Death and Life of Great American Cities |organization = Joint Committee to Stop the Lower Manhattan Expressway, Stop Spadina Save Our City Coordinating Committee Carlos Moreno<ref>Willsher, Kim, Paris mayor unveils '15-minute city' plan in re-election campaign, The Guardian, Friday, February 7, 2020</ref> |awards = OC, OOnt, Vincent Scully Prize, National Building Museum |spouse = Robert Jacobs |children = Ned Jacobs, James Jacobs, Mary Burgin Jacobs }} Jane Jacobs (née Butzner; 4 May 1916 – 25 April 2006) was an American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city-dwellers. Jacobs organized grassroots efforts to protect neighborhoods from urban renewal and slum clearance – in particular plans by Robert Moses to overhaul her own Greenwich Village neighborhood. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, which would have passed directly through an area of Manhattan that later became known as SoHo, as well as part of Little Italy and Chinatown. She was arrested in 1968 for inciting a crowd at a public hearing on that project. After moving to Toronto in 1968, she joined the opposition to the Spadina Expressway and the associated network of expressways in Toronto that were planned and under construction. As a woman and a writer who criticized experts in the male-dominated field of urban planning, Jacobs endured scorn from established figures. Routinely, she was described first as a housewife, as she did not have a college degree or any formal training in urban planning; as a result, her lack of credentials was seized upon as grounds for criticism. However, the influence of her concepts eventually was acknowledged by highly respected professionals such as Richard Florida and Robert Lucas. Early years Jacobs was born Jane Isabel Butzner in Scranton, Pennsylvania, the daughter of Bess Robison Butzner, a former teacher and nurse and John Decker Butzner, a physician. They were a Protestant family in a heavily Roman Catholic town. Her brother, John Decker Butzner, Jr., served as a judge on the United States Court of Appeals for the Fourth Circuit. After graduation from Scranton High School, she worked for a year as the unpaid assistant to the women's page editor at the Scranton Tribune. New York City In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which deviated some from the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in Manhattan, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. Career After attending Columbia University's School of General Studies for two years, Butzner found a job at Iron Age magazine. Her 1943 article on economic decline in Scranton was well publicized and led the Murray Corporation of America to locate a warplane factory there. Encouraged by this success, Butzner petitioned the War Production Board to support more operations in Scranton. Experiencing job discrimination at Iron Age, she also advocated for equal pay for women and for the right of workers to unionize. Amerika She became a feature writer for the Office of War Information and then a reporter for Amerika, a publication of the U.S. State Department in the Russian language. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson Street. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect. The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard. Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On 25 March 1952, Jacobs delivered her response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said: The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe... Architectural Forum Jacobs left Amerika in 1952 when it announced its relocation to Washington, D.C. She then found a well-paying job at Architectural Forum, published by Henry Luce of Time Inc. She was hired as an associate editor. After early success in that position, Jacobs began to take assignments on urban planning and "urban blight". In 1954, she was assigned to cover a development in Philadelphia designed by Edmund Bacon. Although her editors expected a positive story, Jacobs criticized Bacon's project, reacting against its lack of concern for the poor African Americans who were directly affected. When Bacon showed Jacobs examples of undeveloped and developed blocks, she determined that "development" seemed to end community life on the street. When Jacobs returned to the offices of Architectural Forum, she began to question the 1950s consensus on urban planning. In 1955, Jacobs met William Kirk, an Episcopal minister who worked in East Harlem. Kirk came to the Architectural Forum offices to describe the impact that "revitalization" had on East Harlem, and he introduced Jacobs to the neighborhood. In 1956, while standing in for Douglas Haskell of Architectural Forum, Jacobs delivered a lecture at Harvard University. She addressed leading architects, urban planners, and intellectuals (including Lewis Mumford), speaking on the topic of East Harlem. She urged this audience to "respect – in the deepest sense – strips of chaos that have a weird wisdom of their own not yet encompassed in our concept of urban order." Contrary to her expectations, the talk was received with enthusiasm, but it also marked her as a threat to established urban planners, real estate owners, and developers. Architectural Forum printed the speech that year, along with photographs of East Harlem. Rockefeller Foundation and Death and Life of Great American Cities After reading her Harvard speech, William H. Whyte invited Jacobs to write an article for Fortune magazine. The resulting piece, "Downtown Is for People", appeared in a 1958 issue of Fortune, and marked her first public criticism of Robert Moses. Her criticism of the Lincoln Center was not popular with supporters of urban renewal at Architectural Forum and Fortune. C.D. Jackson, the publisher of Fortune, was outraged and over the telephone, demanded of Whyte: "Who is this crazy dame?" The Fortune article brought Jacobs to the attention of Chadbourne Gilpatric, then associate director of the Humanities Division at the Rockefeller Foundation. The foundation had moved aggressively into urban topics, with a recent award to the Massachusetts Institute of Technology for studies of urban aesthetics that would culminate in the publication of Kevin A. Lynch's Image of the City. In May 1958, Gilpatric invited Jacobs to begin serving as a reviewer for grant proposals. Later that year, the Rockefeller Foundation awarded a grant to Jacobs to produce a critical study of city planning and urban life in the U.S. (From the mid-1950s to the mid-1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee.) Gilpatric encouraged Jacobs to "explor[e] the field of urban design to look for ideas and actions which may improve thinking on how the design of cities might better serve urban life, including cultural and humane value." Affiliating with The New School (then called The New School for Social Research), she spent three years conducting research and writing drafts. In 1961, Random House published the result: The Death and Life of Great American Cities.The Death and Life of Great American Cities remains one of the most influential books in the history of American city planning. She coined the terms "social capital", "mixed primary uses", and "eyes on the street", which were adopted professionally in urban design, sociology, and many other fields. Jacobs painted a devastating picture of the profession of city planning, labeling it a pseudoscience. This angered the male-dominated urban planning profession. Jacobs was criticized with ad hominem attacks, being called a "militant dame" and a "housewife": an amateur who had no right to interfere with an established discipline. One planner dismissed Jacobs's book as "bitter coffee-house rambling". Robert Moses, sent a copy, called it "intemperate and also libelous... Sell this junk to someone else." Later, her book was criticized from the left for leaving out race and openly endorsing gentrification, which Jacobs referred to as "unslumming". In 1962, she resigned her position at Architectural Forum to become a full-time author and concentrate on raising her children. In other political activities she became an opponent of the Vietnam War, marched on the Pentagon in October 1967, and criticized the construction of the World Trade Center as a disaster for Manhattan's waterfront. Struggle for Greenwich Village During the 1950s and 1960s, her home neighborhood of Greenwich Village was being transformed by city and state efforts to build housing (see, for example, Jacobs's 1961 fight to build the West Village Houses in lieu of large apartment houses), private developers, the expansion of New York University, and by the urban renewal plans of Robert Moses. Moses' plan, funded as "slum clearance" by Title I of the Housing Act of 1949, also called for several blocks to be razed and replaced with upscale high-rises. The plan forced 132 families out of their homes and displaced 1,000 small businesses—the result was Washington Square Village. As part of his efforts to revitalize the area, Moses had proposed the extension of Fifth Avenue through Washington Square Park in 1935. In the face of community opposition, Moses had shelved the project, but revived the idea in the 1950s. Moses argued that the Fifth Avenue extension would improve the flow of traffic through the neighborhood and provide access to the planned Lower Manhattan Expressway (LOMEX), which would connect the Manhattan Bridge and Williamsburg Bridge with the Holland Tunnel. In response, local activist Shirley Hayes created the "Committee to Save Washington Square Park", a coalition of dozens of local neighborhood groups that opposed the roadway extension. Raymond S. Rubinow eventually took over the organization, changing its name to the "Joint Emergency Committee to Close Washington Square to Traffic". Jacobs had joined the committee under Hayes, but she took a more prominent role under Rubinow, reaching out to media outlets such as The Village Voice, which provided more sympathetic coverage than The New York Times. The committee gained the support of Margaret Mead, Eleanor Roosevelt, Lewis Mumford, Charles Abrams, and William H. Whyte, as well as Carmine De Sapio, a Greenwich Village resident and influential Democratic leader. De Sapio's involvement proved decisive. On 25 June 1958, the city closed Washington Square Park to traffic, and the joint committee held a ribbon tying (not cutting) ceremony. Plans for LOMEX expressway continued despite growing community opposition in areas such as Little Italy. In the 1960s, Jacobs chaired the Joint Committee to Stop the Lower Manhattan Expressway. The New York Times was sympathetic to Moses, while The Village Voice covered community rallies and advocated against the expressway. Jacobs continued to fight the expressway when plans resurfaced in 1962, 1965, and 1968, and she became a local hero for her opposition to the project. She was arrested by a plainclothes police officer on April 10, 1968, at a public hearing during which the crowd had charged the stage and destroyed the stenographer's notes. She was accused of inciting a riot, criminal mischief, and obstructing public administration. After months of trials conducted in New York City (to which Jacobs commuted from Toronto), her charge was reduced to disorderly conduct.New York: A Documentary Film devoted an hour of the eight-part, seventeen-and-a-half-hour series to the battle between Moses and Jacobs. Robert Caro's biography of Moses, The Power Broker, gives only passing mention to this event, however, despite Jacobs's strong influence on Caro. In 2017, Caro told an interviewer about the difficulty in cutting more than 300,000 words from his initial manuscript: "The section that I wrote on Jane Jacobs disappeared. To this day, when someone says: 'There's hardly a mention of Jane Jacobs,' I think, 'But I wrote a lot about her.' Every time I'm asked about that, I have this sick feeling." Life in Toronto Soon after her arrest in 1968, Jacobs moved to Toronto, eventually settling at 69 Albany Avenue in The Annex from 1971 until her death in 2006. She decided to leave the U.S. in part because she opposed the Vietnam War, she worried about the fate of her two draft-age sons, and she did not want to continue fighting the New York City government. She and her husband chose Toronto because it was pleasant and offered employment opportunities, and they moved to an area of Toronto that included so many Americans avoiding the draft that it was called the "American ghetto". She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether cities were being built for people or for cars. She was arrested twice during demonstrations. She also had considerable influence on the regeneration of the St. Lawrence neighborhood, a housing project regarded as a major success. She became a Canadian citizen in 1974 and later, she told writer James Howard Kunstler that dual citizenship was not possible at the time, implying that her U.S. citizenship was lost. In 1980, she offered a more urban perspective on Quebec's sovereignty in her book, The Question of Separatism: Quebec and the Struggle over Separation. Jacobs was an advocate of a Province of Toronto to separate the city proper from Ontario. Jacobs said, "Cities, to thrive in the twenty-first century, must separate themselves politically from their surrounding areas." She was selected to be an officer of the Order of Canada in 1996 for her seminal writings and thought-provoking commentaries on urban development. The community and urban sociology section of the American Sociological Association awarded her its Outstanding Lifetime Contribution award in 2002. In 1997, the city government of Toronto sponsored a conference entitled, "Jane Jacobs: Ideas That Matter", which led to a book by the same name. At the end of the conference, the Jane Jacobs Prize was created. It includes an annual stipend of $5,000 for three years to be given to "celebrate Toronto's original, unsung heroes – by seeking out citizens who are engaged in activities that contribute to the city's vitality". Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and she was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a longshot. During the mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city waterfront to Toronto City Centre Airport (TCCA). Following the election, the Toronto city council's earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport was still in operation as of 2019. In lieu of the bridge, a pedestrian tunnel broke ground in March 2012. The tunnel opened on 30 July 2015. Jacobs also was active in a campaign against a plan of Royal St. George's College (an established school very close to the Jacobs residence in Toronto's Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but that the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school's plans, the decision later was reversed – and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing. She also had an influence on Vancouver's urban planning. Jacobs has been called "the mother of Vancouverism", referring to that city's use of her "density done well" philosophy. Jacobs died in Toronto Western Hospital aged 89, on 25 April 2006, apparently of a stroke. She was survived by a brother, James Butzner (d. 2009); a daughter, Burgin Jacobs, her sons, James and Ned of Vancouver, and by two grandchildren and two great-grandchildren. Upon her death her family's statement noted: "What's important is not that she died but that she lived, and that her life's work has greatly influenced the way we think. Please remember her by reading her books and implementing her ideas". Legacy Jacobs is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. She has been characterized as a major influence on decentralist and radical centrist thought. She discussed her legacy in an interview with Reason magazine. While Jacobs saw her greatest legacy to be her contributions to economic theory, it is in the realm of urban planning that she has had her most extensive effect. Her observations about the ways in which cities function revolutionized the urban planning profession and discredited many accepted planning models that had dominated mid-century planning. The influential Harvard Economist Edward Glaeser, known for his work on urban studies, acknowledged that Jane Jacobs (1960s) had been prescient in attacking Moses for "replacing well-functioning neighborhoods with Le Corbusier-inspired towers". Glaeser agreed that these housing projects proved to be Moses' greatest failures, "Moses spent millions and evicted tens of thousands to create buildings that became centers of crime, poverty, and despair." She also was famous for introducing concepts such as the "Ballet of the Sidewalk" and "Eyes on the Street", a reference to what would later be known as natural surveillance. The concept had a huge influence on planners and architects such as Oscar Newman, who prepared the idea through a series of studies that would culminate in his defensible space theory. The work of Jacobs and Newman would go on to affect American housing policy through the HOPE VI Program, an effort by the United States Department of Housing and Urban Development to demolish the high-rise public housing projects so reviled by Jacobs and to replace them with low-rise, mixed-income housing. Throughout her life, Jacobs fought to alter the way in which city development was approached. By arguing that cities were living beings and ecosystems, she advocated ideas such as "mixed use" development and bottom-up planning. Furthermore, her harsh criticisms of "slum clearing" and "high-rise housing" projects were instrumental in discrediting these once universally supported planning practices. Jacobs is remembered as being an advocate for the mindful development of cities, and for leaving "a legacy of empowerment for citizens to trust their common sense and become advocates for their place". Despite the fact that Jacobs mainly focused on New York City, her arguments have been identified as universal. For instance, her opposition against the demolition of urban neighborhoods for projects of urban renewal had "special resonance" in Melbourne, Australia. In Melbourne in the 1960s, resident associations fought against large-scale high-rise housing projects of the Housing Commission of Victoria, which they argued had little regard for the impact on local communities. Jacobs fought an uphill battle against dominant trends of planning. Despite the United States remaining very much a suburban nation, the work of Jacobs has contributed to city living being rehabilitated and revitalized. Because of her ideas, today, many distressed urban neighborhoods are more likely to be gentrified than cleared for redevelopment. Samuel R. Delany's book Times Square Red, Times Square Blue relies heavily on The Death and Life of Great American Cities in its analysis of the nature of social relations within the realm of urban studies. Jane Jacobs Days After the death of Jacobs in April 2006, New York City Mayor Michael Bloomberg announced a Jane Jacobs Day, held on June 28, 2006. The City of Toronto proclaimed her birthday the following year, May 4, 2007, as Jane Jacobs Day. Jane's Walks In connection with Jane Jacobs Day in Toronto, two dozen free neighborhood walks in the city were offered that weekend (5 May 2007) as an active memorial to Jacobs, and they were dubbed Jane's Walks. Later, a Jane's Walk event was held in New York on September 29–30, 2007. In 2008, the event spread to eight cities and towns throughout Canada, and by 2016, Jane's Walks were taking place in 212 cities in 36 countries, on six continents. The interpretive walks typically apply ideas Jacobs identified or espoused to local areas, which are explored on foot and sometimes by bicycle. The walks normally take place in early May, on or close to her May 4 birth anniversary. Walks are organized and led by local volunteers, coordinated by a headquarters office in Toronto. There are more than 200 walks offered in Toronto, alone, in 2016, taking place on May 6, 7, and 8. Exhibitions In 2016, to mark the hundredth birth anniversary of Jane Jacobs, a Toronto gallery staged "Jane at Home", an exhibition running from April 29-May 8. Curated by Jane's son, Jim Jacobs, it offered glimpses of her home life, where she also worked. Her Toronto living room was represented, based on the one at her Albany Avenue house in The Annex, where she often spoke with noted thinkers and political leaders including Marshall McLuhan, Paul Martin, and the Queen of the Netherlands. On display were her typewriter, original manuscripts, rediscovered photographs demonstrating her distinctive styles, and personal mementos. The exhibit included furniture from previous homes in New York (her dining room is set up) and from Scranton, Pennsylvania.Jane at Home , Urbanspace Gallery, Toronto, 2016 In 2007, the Municipal Art Society of New York partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York," which opened at the society in September that year. The exhibit aimed to educate the public on her writings and activism and used tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication included essays and articles by such architecture critics, artists, activists, and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors participated in a series of panel discussions on "Jane Jacobs and the Future of New York". Jane Jacobs Medal As a tribute to Jacobs, the Rockefeller Foundation, which had awarded grants to Jacobs in the 1950s and 1960s, announced on February 9, 2007, the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City". Recipients include: Barry Benepe, co-founder of the New York City Green Market program and a founding member of Transportation Alternatives, was awarded with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize in September 2007. The inaugural Jane Jacobs Medal for New Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization. Peggy Shepard, executive director of West Harlem Environmental Action, received the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, received the award for New Ideas and Activism. Both women received their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City. Damaris Reyes, executive director of Good Old Lower East Side (GOLES), received the 2009 Jane Jacobs Medal for New Ideas and Activism. Richard Kahan, as founder and CEO of the Urban Assembly, which created and manages 22 secondary public schools located in many of the lowest income neighborhoods in New York City, received the 2009 Jane Jacobs Medal for Lifetime Leadership. Both received $100,000, in addition to the medal. The 2010 recipients were Joshua David and Robert Hammond, whose work in establishing the High Line Park atop an unused elevated railroad line, led the foundation to award the 2010 Jane Jacobs Medal for New Ideas and Activism, along with $60,000 to each man. The 2010 Jane Jacobs Medal for Lifetime Leadership was given to Elizabeth Barlow Rogers, for her longtime work as writer, park administrator, and co-founder of Central Park Conservancy. She received $80,000 as well. The Canadian Urban Institute offers an award to honor her, the Jane Jacobs Lifetime Achievement Award, to recognize a person "who has had significant impact on the health of their region consistent with Jane Jacob's belief that successful cities foster a place-based, community-centered approach." The 2011 winner was Eberhard Zeidler, while his daughter, Margie Zeidler, won the 2015 award. In 2012, Anne Golden took the prize "for her long-standing leadership in public policy, her academic work and her varied leadership experience in business, not-for-profit and government sectors." William (Bill) Teron accepted the 2013 award "for his influential career in public policy and passionate advocacy for quality design and commitment to development in the Ottawa area." In 2014, Jack Diamond was recognized for his "contribution to improving the built form and advocacy for cities and the future of the Greater Toronto Area." In April 2014, Spacing was appointed the stewards of the Jane Jacobs Prize. Spacing, winners of the prize in 2010, has continued to provide the award with a new life and new ways of promoting (and finding) the winners. Other honors Jane Jacobs Way, West Village, New York City (Hudson Street and Eleventh Street, New York, New York) Jane Jacobs Park, 11 Wellesley Street West, Toronto (construction began in 2016) Jane Jacobs sculptural chairs, Victoria Memorial Square (St. John's Square), Toronto Jane Jacobs Toronto Legacy Plaque, 69 Albany Avenue, Toronto Jacobs' Ladder, rose bushes dedicated by Grassroots Albany (neighbors) in 1997, Toronto Jane Jacobs Street, Mount Pleasant, South Carolina Jane Jacobs Street (Village of Cheshire) Black Mountain, North Carolina a Google Doodle marked the 100th anniversary of Jacobs's birth, on May 4, 2016, and was featured on Google's homepage in 15 countries on four continents a conference room at the offices of the New Economics Foundation in London is named in honor of Jacobs Jacobs received the second Vincent Scully Prize from the National Building Museum in 2000. Jacobs is the subject of the 2017 documentary film Citizen Jane: Battle for the City, which depicts her victories over Robert Moses and her philosophy of urban design. In popular culture A fictionalized version of her is played by Alison Smith in a season 1 episode of the Amazon series The Marvelous Mrs. Maisel. The community organizer played by Cherry Jones in Motherless Brooklyn has drawn comparisons to Jane Jacobs. The director, Edward Norton, has clarified that the composite character was partially based on Jacobs, but more so on Hortense Gabel who was active a decade earlier. The URL of the Facebook group New Urbanist Memes for Transit-Oriented Teens (NUMTOT) is whatwouldjanejacobsdo. Criticism The planners and developers she fought against to preserve the West Village were among those who initially criticized her ideas. Robert Moses has generally been identified as her arch-rival during this period. Since then, Jacobs's ideas have been analysed many times, often in regard to the outcomes that their influences have produced.Glaeser, Edward L. (2010) Taller Buildings, Cheaper Homes. The New York Times, 4 May 2010 6:02 amOuroussoff, Nicolai (2006) Outgrowing Jane Jacobs and Her New York. The New York Times, Published 30 April 2006Bratishenko, Lev (2016) Jane Jacobs's Tunnel Vision Why our cities need less Jane Jacobs. Literary Review of Canada, October 2016 In places such as the West Village, the factors that she argued would maintain economic and cultural diversity have led instead to gentrification and some of the most expensive real estate in the world. Her family's conversion of an old candy shop into a home is an example of the gentrifying trend that would continue under the influence of Jacobs's ideas. Gentrification also was caused, however, by "the completely unexpected influx of affluent residents back into the inner city". The extent to which her ideas facilitated this phenomenon was at the time unimaginable. For example, she advocated the preservation of older buildings specifically because their lack of economic value made them affordable for poor people. In this respect, she saw them as "guarantors of social diversity". That many of these older structures have increased in economic value solely due to their age was implausible in 1961. Issues of gentrification have dominated criticism of Jane Jacobs's planning ideas. Economist Tyler Cowen has criticized her ideas for not addressing problems of scale or infrastructure, and suggests that economists disagree with some of her approaches to development. For example, although her ideas of planning were praised at times as "universal", they are now thought inapplicable when a city grows from one million to ten million (as has happened many times in developing nations). Such arguments suggest that her ideas apply only to cities with similar issues to those of New York, where Jacobs developed many of them. Works Jane Jacobs spent her life studying cities. Her books include: The Death and Life of Great American Cities The Death and Life of Great American Cities is her single-most influential book and, possibly, the most influential book on urban planning and cities. Published in 1961, this book was widely read by both planning professionals and the general public. The book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. In the book, she celebrates the diversity and complexity of old-mixed use neighborhoods while lamenting the monotony and sterility of modern planning. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and she frequently cited New York City's Greenwich Village as an example of a vibrant urban community. Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, although Caro does not mention Jacobs by name in the book despite Jacobs's battles with Moses over his proposed Lower Manhattan Expressway. Caro reportedly cut a chapter about Jacobs due to his book's length. Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and anecdotes. The Economy of Cities The thesis of this book is that cities are the primary drivers of economic development. Her main argument is that explosive economic growth derives from urban import replacement. Import replacement is the process of producing goods locally that formerly were imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased production is subsequently exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth. In an interview with Bill Steigerwald in Reason Magazine, Jacobs said that if she is remembered for being a great intellectual she will be remembered not for her work concerning city planning, but for the discovery of import replacement. Critics erroneously claim that her ideas parrot the idea of import substitution advanced earlier by scholars such as Andre Gunder Frank. Import substitution was a national economic theory implying that if a nation substituted its imports with national production, the nation would become wealthier, whereas Jacob's idea is entirely about cities and could be called urban import substitution. However, even this would lead to confusion since in practice, import substitution in India and Latin America were government subsidized and mandated, whereas Jacobs's concept of import replacement is a free market process of discovery and division of labor within a city. In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition. Another interpretation of history, generally and erroneously considered to be contradictory to Jacobs's is supported by Marxist archaeologist Vere Gordon Childe and in recent times, by another historical materialist Charles Keith Maisels These writers argue that agriculture preceded cities. The apparent opposition between Childe and Jacobs theories rests in their definition of 'city', 'civilization', or 'urban'. Childe, like other materialists such as Maisels or Henri Lefebvre defines 'urban' or 'civilization' as Synoecism—as a literate, socially stratified, monolithic political community, whereas, as one can see from The Economy of Cities or from Cities and the Wealth of Nations, Jacobs defines the city purely along the lines of geographically dense trade giving way to entrepreneurial discovery and subsequent improvements in the division of labor. Without the requirements of literacy, monumental building, or the signs of specialized civil and armed forces, 'cities' can be accurately be interpreted to exists thousands of years before when Childe and Maisels place them. However, the Jacobs definition is supposition, since 'city' is defined simply as a large town or "a large human settlement" indicating permanence. The earliest remains of mankind uncovered by archaeologists do not give us more information other than that they were hunter-gatherers as there is no evidence yet of farming or settlement, implying nomadic lifestyles until further discoveries are found. The Question of Separatism: Quebec and the Struggle over Sovereignty The Question of Separatism incorporated and expanded Jacobs's presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. It was published in 1980 and reprinted in 2011 with a previously-unpublished 2005 interview with Robin Philpot on the subject in which she evokes the relative overlooking of that book among her usual readership. This was the first time Jacobs was requested to discuss it in an interview. Columnist Richard Gwyn advanced that while not openly criticizing her, English-speaking Canadians readers thought she did not understood how Canadian politics worked and that she was not being helpful in a time of distress for national unity (the 1980 referendum was just defeated by a vote of 60%). The Question of Separatism was also not mentioned in the bibliography of her 2006 obituary in The Globe and Mail. Jacobs's book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway's secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada's historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example, Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories. The relevant public views of René Lévesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed, an example being their failure to recognize that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada, an issue that is central to her book. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that ultimately, such a need can never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive. Cities and the Wealth of Nations Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, although it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs argues that it is not the nation-state, rather it is the city that is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all. Systems of Survival Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgments related to work, collected and sorted them to find that they fit two patterns of moral behavior that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time. It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her system are applicable to both syndromes. Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York subway police are paid bonuses here – reinterpreted slightly as a part of the larger analysis. The Nature of Economies The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p. ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiation and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p. 82). Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems. Jacobs's characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p. 86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p. 119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p. 137). The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds. One particularly interesting insight is the creation of "something from nothing" – an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work". Dark Age Ahead Published in 2004 by Random House, Dark Age Ahead posits Jacobs's argument that "North American" civilization shows signs of a spiral decline comparable to the collapse of the Roman empire. Her discussion focuses on "five pillars of our culture that we depend on to stand firm", which can be summarized as the nuclear family and community; quality in education; free thought in science; representational government and responsible taxes; and corporate and professional accountability. As the title of this book suggests, Jacobs's outlook is far more pessimistic than that of her previous works. However, in the conclusion she admits: "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true." While Jacobs idealized U.S. democracy, Dark Age Ahead echoes the skepticism and disappointment that led to her emigration to Canada in 1968. Later, she would indicate that North American cultures, among others, were grounded in a "plantation mentality" that was culturally and ecologically unsustainable. Orthodox urbanism Jane Jacobs asserts in her work, The Death and Life of Great American Cities, that the sources of orthodox urbanism are: Garden Cities of Tomorrow, Ebenezer Howard The Culture of Cities, Lewis Mumford Cities in Evolution, Sir Patrick Geddes Modern Housing, Catherine Bauer Toward New Towns for America, Clarence Stein Nothing Gained by Overcrowding, Sir Raymond Unwin The City of Tomorrow and Its Planning, Le Corbusier Writings Constitutional chaff; rejected suggestions of the Constitutional Convention of 1787, with explanatory argument Compiled by Jane Butzner, (1941) Columbia University Press; Compiled by Jane Jacobs (Née Butzner), Reprinted 1970 by Kennikat Press, Port Washington, New York. The Death and Life of Great American Cities (1961) New York: Random House. The Economy of Cities (1969) The Question of Separatism: Quebec and the Struggle over Sovereignty (1980 Random House and 2011 Baraka Books) Cities and the Wealth of Nations (1985) The Girl on the Hat (Children's Book Illustrated by Karen Reczuch), (June 1990) Oxford University Press. Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics (1992) A Schoolteacher in Old Alaska – The Story of Hannah Breece (1995) Random House of Canada. The Nature of Economies (2000) New York: Random House, The Modern Library. Dark Age Ahead (2004) Vital Little Plans: The Short Works of Jane Jacobs'' (2016) New York: Random House. See also David Crombie Fred Gardiner Innovation Economics Urban secession Urban vitality References Bibliography Further reading External links Jane Jacobs's Order of Canada Citation Jane Jacobs's Papers at John J. Burns Library, Boston College Jane Jacobs Oral History, 1997 Greenwich Village Society for Historic Preservation Jane Jacobs's Legacy, City Journal online, July 31, 2009 1916 births 2006 deaths American architecture writers Naturalized citizens of Canada Tax resisters Women urban planners Anti-road protest Canadian architecture writers Canadian women non-fiction writers Canadian social commentators Interstate 78 Members of the Order of Ontario Moral philosophers Officers of the Order of Canada People from Greenwich Village Writers from Scranton, Pennsylvania Radical centrist writers Urban theorists Environmental economists Writers from Toronto Columbia University School of General Studies alumni American emigrants to Canada Women's page journalists

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What did they do

What did the city of Manhattan do?

Jane Jacobs

In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. CANNOTANSWER

The sisters soon moved there

{{Infobox person |image = Jane Jacobs.jpg |imagesize = |caption = Jacobs as chair of a Greenwich Village civic group at a 1961 press conference |name = Jane Jacobs |honorific_suffix = |birth_name = Jane Butzner |birth_date = |birth_place = Scranton, Pennsylvania, U.S. |death_date = |death_place = Toronto, Ontario, Canada |education = Graduate of Scranton Central High School; two years of undergraduate studies at Columbia University |occupation = Journalist, author, urban theorist |employer = Amerika, Architectural Forum |notable_works = The Death and Life of Great American Cities |organization = Joint Committee to Stop the Lower Manhattan Expressway, Stop Spadina Save Our City Coordinating Committee Carlos Moreno<ref>Willsher, Kim, Paris mayor unveils '15-minute city' plan in re-election campaign, The Guardian, Friday, February 7, 2020</ref> |awards = OC, OOnt, Vincent Scully Prize, National Building Museum |spouse = Robert Jacobs |children = Ned Jacobs, James Jacobs, Mary Burgin Jacobs }} Jane Jacobs (née Butzner; 4 May 1916 – 25 April 2006) was an American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city-dwellers. Jacobs organized grassroots efforts to protect neighborhoods from urban renewal and slum clearance – in particular plans by Robert Moses to overhaul her own Greenwich Village neighborhood. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, which would have passed directly through an area of Manhattan that later became known as SoHo, as well as part of Little Italy and Chinatown. She was arrested in 1968 for inciting a crowd at a public hearing on that project. After moving to Toronto in 1968, she joined the opposition to the Spadina Expressway and the associated network of expressways in Toronto that were planned and under construction. As a woman and a writer who criticized experts in the male-dominated field of urban planning, Jacobs endured scorn from established figures. Routinely, she was described first as a housewife, as she did not have a college degree or any formal training in urban planning; as a result, her lack of credentials was seized upon as grounds for criticism. However, the influence of her concepts eventually was acknowledged by highly respected professionals such as Richard Florida and Robert Lucas. Early years Jacobs was born Jane Isabel Butzner in Scranton, Pennsylvania, the daughter of Bess Robison Butzner, a former teacher and nurse and John Decker Butzner, a physician. They were a Protestant family in a heavily Roman Catholic town. Her brother, John Decker Butzner, Jr., served as a judge on the United States Court of Appeals for the Fourth Circuit. After graduation from Scranton High School, she worked for a year as the unpaid assistant to the women's page editor at the Scranton Tribune. New York City In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which deviated some from the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in Manhattan, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. Career After attending Columbia University's School of General Studies for two years, Butzner found a job at Iron Age magazine. Her 1943 article on economic decline in Scranton was well publicized and led the Murray Corporation of America to locate a warplane factory there. Encouraged by this success, Butzner petitioned the War Production Board to support more operations in Scranton. Experiencing job discrimination at Iron Age, she also advocated for equal pay for women and for the right of workers to unionize. Amerika She became a feature writer for the Office of War Information and then a reporter for Amerika, a publication of the U.S. State Department in the Russian language. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson Street. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect. The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard. Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On 25 March 1952, Jacobs delivered her response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said: The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe... Architectural Forum Jacobs left Amerika in 1952 when it announced its relocation to Washington, D.C. She then found a well-paying job at Architectural Forum, published by Henry Luce of Time Inc. She was hired as an associate editor. After early success in that position, Jacobs began to take assignments on urban planning and "urban blight". In 1954, she was assigned to cover a development in Philadelphia designed by Edmund Bacon. Although her editors expected a positive story, Jacobs criticized Bacon's project, reacting against its lack of concern for the poor African Americans who were directly affected. When Bacon showed Jacobs examples of undeveloped and developed blocks, she determined that "development" seemed to end community life on the street. When Jacobs returned to the offices of Architectural Forum, she began to question the 1950s consensus on urban planning. In 1955, Jacobs met William Kirk, an Episcopal minister who worked in East Harlem. Kirk came to the Architectural Forum offices to describe the impact that "revitalization" had on East Harlem, and he introduced Jacobs to the neighborhood. In 1956, while standing in for Douglas Haskell of Architectural Forum, Jacobs delivered a lecture at Harvard University. She addressed leading architects, urban planners, and intellectuals (including Lewis Mumford), speaking on the topic of East Harlem. She urged this audience to "respect – in the deepest sense – strips of chaos that have a weird wisdom of their own not yet encompassed in our concept of urban order." Contrary to her expectations, the talk was received with enthusiasm, but it also marked her as a threat to established urban planners, real estate owners, and developers. Architectural Forum printed the speech that year, along with photographs of East Harlem. Rockefeller Foundation and Death and Life of Great American Cities After reading her Harvard speech, William H. Whyte invited Jacobs to write an article for Fortune magazine. The resulting piece, "Downtown Is for People", appeared in a 1958 issue of Fortune, and marked her first public criticism of Robert Moses. Her criticism of the Lincoln Center was not popular with supporters of urban renewal at Architectural Forum and Fortune. C.D. Jackson, the publisher of Fortune, was outraged and over the telephone, demanded of Whyte: "Who is this crazy dame?" The Fortune article brought Jacobs to the attention of Chadbourne Gilpatric, then associate director of the Humanities Division at the Rockefeller Foundation. The foundation had moved aggressively into urban topics, with a recent award to the Massachusetts Institute of Technology for studies of urban aesthetics that would culminate in the publication of Kevin A. Lynch's Image of the City. In May 1958, Gilpatric invited Jacobs to begin serving as a reviewer for grant proposals. Later that year, the Rockefeller Foundation awarded a grant to Jacobs to produce a critical study of city planning and urban life in the U.S. (From the mid-1950s to the mid-1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee.) Gilpatric encouraged Jacobs to "explor[e] the field of urban design to look for ideas and actions which may improve thinking on how the design of cities might better serve urban life, including cultural and humane value." Affiliating with The New School (then called The New School for Social Research), she spent three years conducting research and writing drafts. In 1961, Random House published the result: The Death and Life of Great American Cities.The Death and Life of Great American Cities remains one of the most influential books in the history of American city planning. She coined the terms "social capital", "mixed primary uses", and "eyes on the street", which were adopted professionally in urban design, sociology, and many other fields. Jacobs painted a devastating picture of the profession of city planning, labeling it a pseudoscience. This angered the male-dominated urban planning profession. Jacobs was criticized with ad hominem attacks, being called a "militant dame" and a "housewife": an amateur who had no right to interfere with an established discipline. One planner dismissed Jacobs's book as "bitter coffee-house rambling". Robert Moses, sent a copy, called it "intemperate and also libelous... Sell this junk to someone else." Later, her book was criticized from the left for leaving out race and openly endorsing gentrification, which Jacobs referred to as "unslumming". In 1962, she resigned her position at Architectural Forum to become a full-time author and concentrate on raising her children. In other political activities she became an opponent of the Vietnam War, marched on the Pentagon in October 1967, and criticized the construction of the World Trade Center as a disaster for Manhattan's waterfront. Struggle for Greenwich Village During the 1950s and 1960s, her home neighborhood of Greenwich Village was being transformed by city and state efforts to build housing (see, for example, Jacobs's 1961 fight to build the West Village Houses in lieu of large apartment houses), private developers, the expansion of New York University, and by the urban renewal plans of Robert Moses. Moses' plan, funded as "slum clearance" by Title I of the Housing Act of 1949, also called for several blocks to be razed and replaced with upscale high-rises. The plan forced 132 families out of their homes and displaced 1,000 small businesses—the result was Washington Square Village. As part of his efforts to revitalize the area, Moses had proposed the extension of Fifth Avenue through Washington Square Park in 1935. In the face of community opposition, Moses had shelved the project, but revived the idea in the 1950s. Moses argued that the Fifth Avenue extension would improve the flow of traffic through the neighborhood and provide access to the planned Lower Manhattan Expressway (LOMEX), which would connect the Manhattan Bridge and Williamsburg Bridge with the Holland Tunnel. In response, local activist Shirley Hayes created the "Committee to Save Washington Square Park", a coalition of dozens of local neighborhood groups that opposed the roadway extension. Raymond S. Rubinow eventually took over the organization, changing its name to the "Joint Emergency Committee to Close Washington Square to Traffic". Jacobs had joined the committee under Hayes, but she took a more prominent role under Rubinow, reaching out to media outlets such as The Village Voice, which provided more sympathetic coverage than The New York Times. The committee gained the support of Margaret Mead, Eleanor Roosevelt, Lewis Mumford, Charles Abrams, and William H. Whyte, as well as Carmine De Sapio, a Greenwich Village resident and influential Democratic leader. De Sapio's involvement proved decisive. On 25 June 1958, the city closed Washington Square Park to traffic, and the joint committee held a ribbon tying (not cutting) ceremony. Plans for LOMEX expressway continued despite growing community opposition in areas such as Little Italy. In the 1960s, Jacobs chaired the Joint Committee to Stop the Lower Manhattan Expressway. The New York Times was sympathetic to Moses, while The Village Voice covered community rallies and advocated against the expressway. Jacobs continued to fight the expressway when plans resurfaced in 1962, 1965, and 1968, and she became a local hero for her opposition to the project. She was arrested by a plainclothes police officer on April 10, 1968, at a public hearing during which the crowd had charged the stage and destroyed the stenographer's notes. She was accused of inciting a riot, criminal mischief, and obstructing public administration. After months of trials conducted in New York City (to which Jacobs commuted from Toronto), her charge was reduced to disorderly conduct.New York: A Documentary Film devoted an hour of the eight-part, seventeen-and-a-half-hour series to the battle between Moses and Jacobs. Robert Caro's biography of Moses, The Power Broker, gives only passing mention to this event, however, despite Jacobs's strong influence on Caro. In 2017, Caro told an interviewer about the difficulty in cutting more than 300,000 words from his initial manuscript: "The section that I wrote on Jane Jacobs disappeared. To this day, when someone says: 'There's hardly a mention of Jane Jacobs,' I think, 'But I wrote a lot about her.' Every time I'm asked about that, I have this sick feeling." Life in Toronto Soon after her arrest in 1968, Jacobs moved to Toronto, eventually settling at 69 Albany Avenue in The Annex from 1971 until her death in 2006. She decided to leave the U.S. in part because she opposed the Vietnam War, she worried about the fate of her two draft-age sons, and she did not want to continue fighting the New York City government. She and her husband chose Toronto because it was pleasant and offered employment opportunities, and they moved to an area of Toronto that included so many Americans avoiding the draft that it was called the "American ghetto". She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether cities were being built for people or for cars. She was arrested twice during demonstrations. She also had considerable influence on the regeneration of the St. Lawrence neighborhood, a housing project regarded as a major success. She became a Canadian citizen in 1974 and later, she told writer James Howard Kunstler that dual citizenship was not possible at the time, implying that her U.S. citizenship was lost. In 1980, she offered a more urban perspective on Quebec's sovereignty in her book, The Question of Separatism: Quebec and the Struggle over Separation. Jacobs was an advocate of a Province of Toronto to separate the city proper from Ontario. Jacobs said, "Cities, to thrive in the twenty-first century, must separate themselves politically from their surrounding areas." She was selected to be an officer of the Order of Canada in 1996 for her seminal writings and thought-provoking commentaries on urban development. The community and urban sociology section of the American Sociological Association awarded her its Outstanding Lifetime Contribution award in 2002. In 1997, the city government of Toronto sponsored a conference entitled, "Jane Jacobs: Ideas That Matter", which led to a book by the same name. At the end of the conference, the Jane Jacobs Prize was created. It includes an annual stipend of $5,000 for three years to be given to "celebrate Toronto's original, unsung heroes – by seeking out citizens who are engaged in activities that contribute to the city's vitality". Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and she was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a longshot. During the mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city waterfront to Toronto City Centre Airport (TCCA). Following the election, the Toronto city council's earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport was still in operation as of 2019. In lieu of the bridge, a pedestrian tunnel broke ground in March 2012. The tunnel opened on 30 July 2015. Jacobs also was active in a campaign against a plan of Royal St. George's College (an established school very close to the Jacobs residence in Toronto's Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but that the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school's plans, the decision later was reversed – and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing. She also had an influence on Vancouver's urban planning. Jacobs has been called "the mother of Vancouverism", referring to that city's use of her "density done well" philosophy. Jacobs died in Toronto Western Hospital aged 89, on 25 April 2006, apparently of a stroke. She was survived by a brother, James Butzner (d. 2009); a daughter, Burgin Jacobs, her sons, James and Ned of Vancouver, and by two grandchildren and two great-grandchildren. Upon her death her family's statement noted: "What's important is not that she died but that she lived, and that her life's work has greatly influenced the way we think. Please remember her by reading her books and implementing her ideas". Legacy Jacobs is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. She has been characterized as a major influence on decentralist and radical centrist thought. She discussed her legacy in an interview with Reason magazine. While Jacobs saw her greatest legacy to be her contributions to economic theory, it is in the realm of urban planning that she has had her most extensive effect. Her observations about the ways in which cities function revolutionized the urban planning profession and discredited many accepted planning models that had dominated mid-century planning. The influential Harvard Economist Edward Glaeser, known for his work on urban studies, acknowledged that Jane Jacobs (1960s) had been prescient in attacking Moses for "replacing well-functioning neighborhoods with Le Corbusier-inspired towers". Glaeser agreed that these housing projects proved to be Moses' greatest failures, "Moses spent millions and evicted tens of thousands to create buildings that became centers of crime, poverty, and despair." She also was famous for introducing concepts such as the "Ballet of the Sidewalk" and "Eyes on the Street", a reference to what would later be known as natural surveillance. The concept had a huge influence on planners and architects such as Oscar Newman, who prepared the idea through a series of studies that would culminate in his defensible space theory. The work of Jacobs and Newman would go on to affect American housing policy through the HOPE VI Program, an effort by the United States Department of Housing and Urban Development to demolish the high-rise public housing projects so reviled by Jacobs and to replace them with low-rise, mixed-income housing. Throughout her life, Jacobs fought to alter the way in which city development was approached. By arguing that cities were living beings and ecosystems, she advocated ideas such as "mixed use" development and bottom-up planning. Furthermore, her harsh criticisms of "slum clearing" and "high-rise housing" projects were instrumental in discrediting these once universally supported planning practices. Jacobs is remembered as being an advocate for the mindful development of cities, and for leaving "a legacy of empowerment for citizens to trust their common sense and become advocates for their place". Despite the fact that Jacobs mainly focused on New York City, her arguments have been identified as universal. For instance, her opposition against the demolition of urban neighborhoods for projects of urban renewal had "special resonance" in Melbourne, Australia. In Melbourne in the 1960s, resident associations fought against large-scale high-rise housing projects of the Housing Commission of Victoria, which they argued had little regard for the impact on local communities. Jacobs fought an uphill battle against dominant trends of planning. Despite the United States remaining very much a suburban nation, the work of Jacobs has contributed to city living being rehabilitated and revitalized. Because of her ideas, today, many distressed urban neighborhoods are more likely to be gentrified than cleared for redevelopment. Samuel R. Delany's book Times Square Red, Times Square Blue relies heavily on The Death and Life of Great American Cities in its analysis of the nature of social relations within the realm of urban studies. Jane Jacobs Days After the death of Jacobs in April 2006, New York City Mayor Michael Bloomberg announced a Jane Jacobs Day, held on June 28, 2006. The City of Toronto proclaimed her birthday the following year, May 4, 2007, as Jane Jacobs Day. Jane's Walks In connection with Jane Jacobs Day in Toronto, two dozen free neighborhood walks in the city were offered that weekend (5 May 2007) as an active memorial to Jacobs, and they were dubbed Jane's Walks. Later, a Jane's Walk event was held in New York on September 29–30, 2007. In 2008, the event spread to eight cities and towns throughout Canada, and by 2016, Jane's Walks were taking place in 212 cities in 36 countries, on six continents. The interpretive walks typically apply ideas Jacobs identified or espoused to local areas, which are explored on foot and sometimes by bicycle. The walks normally take place in early May, on or close to her May 4 birth anniversary. Walks are organized and led by local volunteers, coordinated by a headquarters office in Toronto. There are more than 200 walks offered in Toronto, alone, in 2016, taking place on May 6, 7, and 8. Exhibitions In 2016, to mark the hundredth birth anniversary of Jane Jacobs, a Toronto gallery staged "Jane at Home", an exhibition running from April 29-May 8. Curated by Jane's son, Jim Jacobs, it offered glimpses of her home life, where she also worked. Her Toronto living room was represented, based on the one at her Albany Avenue house in The Annex, where she often spoke with noted thinkers and political leaders including Marshall McLuhan, Paul Martin, and the Queen of the Netherlands. On display were her typewriter, original manuscripts, rediscovered photographs demonstrating her distinctive styles, and personal mementos. The exhibit included furniture from previous homes in New York (her dining room is set up) and from Scranton, Pennsylvania.Jane at Home , Urbanspace Gallery, Toronto, 2016 In 2007, the Municipal Art Society of New York partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York," which opened at the society in September that year. The exhibit aimed to educate the public on her writings and activism and used tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication included essays and articles by such architecture critics, artists, activists, and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors participated in a series of panel discussions on "Jane Jacobs and the Future of New York". Jane Jacobs Medal As a tribute to Jacobs, the Rockefeller Foundation, which had awarded grants to Jacobs in the 1950s and 1960s, announced on February 9, 2007, the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City". Recipients include: Barry Benepe, co-founder of the New York City Green Market program and a founding member of Transportation Alternatives, was awarded with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize in September 2007. The inaugural Jane Jacobs Medal for New Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization. Peggy Shepard, executive director of West Harlem Environmental Action, received the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, received the award for New Ideas and Activism. Both women received their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City. Damaris Reyes, executive director of Good Old Lower East Side (GOLES), received the 2009 Jane Jacobs Medal for New Ideas and Activism. Richard Kahan, as founder and CEO of the Urban Assembly, which created and manages 22 secondary public schools located in many of the lowest income neighborhoods in New York City, received the 2009 Jane Jacobs Medal for Lifetime Leadership. Both received $100,000, in addition to the medal. The 2010 recipients were Joshua David and Robert Hammond, whose work in establishing the High Line Park atop an unused elevated railroad line, led the foundation to award the 2010 Jane Jacobs Medal for New Ideas and Activism, along with $60,000 to each man. The 2010 Jane Jacobs Medal for Lifetime Leadership was given to Elizabeth Barlow Rogers, for her longtime work as writer, park administrator, and co-founder of Central Park Conservancy. She received $80,000 as well. The Canadian Urban Institute offers an award to honor her, the Jane Jacobs Lifetime Achievement Award, to recognize a person "who has had significant impact on the health of their region consistent with Jane Jacob's belief that successful cities foster a place-based, community-centered approach." The 2011 winner was Eberhard Zeidler, while his daughter, Margie Zeidler, won the 2015 award. In 2012, Anne Golden took the prize "for her long-standing leadership in public policy, her academic work and her varied leadership experience in business, not-for-profit and government sectors." William (Bill) Teron accepted the 2013 award "for his influential career in public policy and passionate advocacy for quality design and commitment to development in the Ottawa area." In 2014, Jack Diamond was recognized for his "contribution to improving the built form and advocacy for cities and the future of the Greater Toronto Area." In April 2014, Spacing was appointed the stewards of the Jane Jacobs Prize. Spacing, winners of the prize in 2010, has continued to provide the award with a new life and new ways of promoting (and finding) the winners. Other honors Jane Jacobs Way, West Village, New York City (Hudson Street and Eleventh Street, New York, New York) Jane Jacobs Park, 11 Wellesley Street West, Toronto (construction began in 2016) Jane Jacobs sculptural chairs, Victoria Memorial Square (St. John's Square), Toronto Jane Jacobs Toronto Legacy Plaque, 69 Albany Avenue, Toronto Jacobs' Ladder, rose bushes dedicated by Grassroots Albany (neighbors) in 1997, Toronto Jane Jacobs Street, Mount Pleasant, South Carolina Jane Jacobs Street (Village of Cheshire) Black Mountain, North Carolina a Google Doodle marked the 100th anniversary of Jacobs's birth, on May 4, 2016, and was featured on Google's homepage in 15 countries on four continents a conference room at the offices of the New Economics Foundation in London is named in honor of Jacobs Jacobs received the second Vincent Scully Prize from the National Building Museum in 2000. Jacobs is the subject of the 2017 documentary film Citizen Jane: Battle for the City, which depicts her victories over Robert Moses and her philosophy of urban design. In popular culture A fictionalized version of her is played by Alison Smith in a season 1 episode of the Amazon series The Marvelous Mrs. Maisel. The community organizer played by Cherry Jones in Motherless Brooklyn has drawn comparisons to Jane Jacobs. The director, Edward Norton, has clarified that the composite character was partially based on Jacobs, but more so on Hortense Gabel who was active a decade earlier. The URL of the Facebook group New Urbanist Memes for Transit-Oriented Teens (NUMTOT) is whatwouldjanejacobsdo. Criticism The planners and developers she fought against to preserve the West Village were among those who initially criticized her ideas. Robert Moses has generally been identified as her arch-rival during this period. Since then, Jacobs's ideas have been analysed many times, often in regard to the outcomes that their influences have produced.Glaeser, Edward L. (2010) Taller Buildings, Cheaper Homes. The New York Times, 4 May 2010 6:02 amOuroussoff, Nicolai (2006) Outgrowing Jane Jacobs and Her New York. The New York Times, Published 30 April 2006Bratishenko, Lev (2016) Jane Jacobs's Tunnel Vision Why our cities need less Jane Jacobs. Literary Review of Canada, October 2016 In places such as the West Village, the factors that she argued would maintain economic and cultural diversity have led instead to gentrification and some of the most expensive real estate in the world. Her family's conversion of an old candy shop into a home is an example of the gentrifying trend that would continue under the influence of Jacobs's ideas. Gentrification also was caused, however, by "the completely unexpected influx of affluent residents back into the inner city". The extent to which her ideas facilitated this phenomenon was at the time unimaginable. For example, she advocated the preservation of older buildings specifically because their lack of economic value made them affordable for poor people. In this respect, she saw them as "guarantors of social diversity". That many of these older structures have increased in economic value solely due to their age was implausible in 1961. Issues of gentrification have dominated criticism of Jane Jacobs's planning ideas. Economist Tyler Cowen has criticized her ideas for not addressing problems of scale or infrastructure, and suggests that economists disagree with some of her approaches to development. For example, although her ideas of planning were praised at times as "universal", they are now thought inapplicable when a city grows from one million to ten million (as has happened many times in developing nations). Such arguments suggest that her ideas apply only to cities with similar issues to those of New York, where Jacobs developed many of them. Works Jane Jacobs spent her life studying cities. Her books include: The Death and Life of Great American Cities The Death and Life of Great American Cities is her single-most influential book and, possibly, the most influential book on urban planning and cities. Published in 1961, this book was widely read by both planning professionals and the general public. The book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. In the book, she celebrates the diversity and complexity of old-mixed use neighborhoods while lamenting the monotony and sterility of modern planning. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and she frequently cited New York City's Greenwich Village as an example of a vibrant urban community. Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, although Caro does not mention Jacobs by name in the book despite Jacobs's battles with Moses over his proposed Lower Manhattan Expressway. Caro reportedly cut a chapter about Jacobs due to his book's length. Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and anecdotes. The Economy of Cities The thesis of this book is that cities are the primary drivers of economic development. Her main argument is that explosive economic growth derives from urban import replacement. Import replacement is the process of producing goods locally that formerly were imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased production is subsequently exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth. In an interview with Bill Steigerwald in Reason Magazine, Jacobs said that if she is remembered for being a great intellectual she will be remembered not for her work concerning city planning, but for the discovery of import replacement. Critics erroneously claim that her ideas parrot the idea of import substitution advanced earlier by scholars such as Andre Gunder Frank. Import substitution was a national economic theory implying that if a nation substituted its imports with national production, the nation would become wealthier, whereas Jacob's idea is entirely about cities and could be called urban import substitution. However, even this would lead to confusion since in practice, import substitution in India and Latin America were government subsidized and mandated, whereas Jacobs's concept of import replacement is a free market process of discovery and division of labor within a city. In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition. Another interpretation of history, generally and erroneously considered to be contradictory to Jacobs's is supported by Marxist archaeologist Vere Gordon Childe and in recent times, by another historical materialist Charles Keith Maisels These writers argue that agriculture preceded cities. The apparent opposition between Childe and Jacobs theories rests in their definition of 'city', 'civilization', or 'urban'. Childe, like other materialists such as Maisels or Henri Lefebvre defines 'urban' or 'civilization' as Synoecism—as a literate, socially stratified, monolithic political community, whereas, as one can see from The Economy of Cities or from Cities and the Wealth of Nations, Jacobs defines the city purely along the lines of geographically dense trade giving way to entrepreneurial discovery and subsequent improvements in the division of labor. Without the requirements of literacy, monumental building, or the signs of specialized civil and armed forces, 'cities' can be accurately be interpreted to exists thousands of years before when Childe and Maisels place them. However, the Jacobs definition is supposition, since 'city' is defined simply as a large town or "a large human settlement" indicating permanence. The earliest remains of mankind uncovered by archaeologists do not give us more information other than that they were hunter-gatherers as there is no evidence yet of farming or settlement, implying nomadic lifestyles until further discoveries are found. The Question of Separatism: Quebec and the Struggle over Sovereignty The Question of Separatism incorporated and expanded Jacobs's presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. It was published in 1980 and reprinted in 2011 with a previously-unpublished 2005 interview with Robin Philpot on the subject in which she evokes the relative overlooking of that book among her usual readership. This was the first time Jacobs was requested to discuss it in an interview. Columnist Richard Gwyn advanced that while not openly criticizing her, English-speaking Canadians readers thought she did not understood how Canadian politics worked and that she was not being helpful in a time of distress for national unity (the 1980 referendum was just defeated by a vote of 60%). The Question of Separatism was also not mentioned in the bibliography of her 2006 obituary in The Globe and Mail. Jacobs's book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway's secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada's historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example, Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories. The relevant public views of René Lévesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed, an example being their failure to recognize that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada, an issue that is central to her book. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that ultimately, such a need can never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive. Cities and the Wealth of Nations Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, although it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs argues that it is not the nation-state, rather it is the city that is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all. Systems of Survival Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgments related to work, collected and sorted them to find that they fit two patterns of moral behavior that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time. It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her system are applicable to both syndromes. Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York subway police are paid bonuses here – reinterpreted slightly as a part of the larger analysis. The Nature of Economies The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p. ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiation and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p. 82). Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems. Jacobs's characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p. 86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p. 119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p. 137). The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds. One particularly interesting insight is the creation of "something from nothing" – an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work". Dark Age Ahead Published in 2004 by Random House, Dark Age Ahead posits Jacobs's argument that "North American" civilization shows signs of a spiral decline comparable to the collapse of the Roman empire. Her discussion focuses on "five pillars of our culture that we depend on to stand firm", which can be summarized as the nuclear family and community; quality in education; free thought in science; representational government and responsible taxes; and corporate and professional accountability. As the title of this book suggests, Jacobs's outlook is far more pessimistic than that of her previous works. However, in the conclusion she admits: "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true." While Jacobs idealized U.S. democracy, Dark Age Ahead echoes the skepticism and disappointment that led to her emigration to Canada in 1968. Later, she would indicate that North American cultures, among others, were grounded in a "plantation mentality" that was culturally and ecologically unsustainable. Orthodox urbanism Jane Jacobs asserts in her work, The Death and Life of Great American Cities, that the sources of orthodox urbanism are: Garden Cities of Tomorrow, Ebenezer Howard The Culture of Cities, Lewis Mumford Cities in Evolution, Sir Patrick Geddes Modern Housing, Catherine Bauer Toward New Towns for America, Clarence Stein Nothing Gained by Overcrowding, Sir Raymond Unwin The City of Tomorrow and Its Planning, Le Corbusier Writings Constitutional chaff; rejected suggestions of the Constitutional Convention of 1787, with explanatory argument Compiled by Jane Butzner, (1941) Columbia University Press; Compiled by Jane Jacobs (Née Butzner), Reprinted 1970 by Kennikat Press, Port Washington, New York. The Death and Life of Great American Cities (1961) New York: Random House. The Economy of Cities (1969) The Question of Separatism: Quebec and the Struggle over Sovereignty (1980 Random House and 2011 Baraka Books) Cities and the Wealth of Nations (1985) The Girl on the Hat (Children's Book Illustrated by Karen Reczuch), (June 1990) Oxford University Press. Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics (1992) A Schoolteacher in Old Alaska – The Story of Hannah Breece (1995) Random House of Canada. The Nature of Economies (2000) New York: Random House, The Modern Library. Dark Age Ahead (2004) Vital Little Plans: The Short Works of Jane Jacobs'' (2016) New York: Random House. See also David Crombie Fred Gardiner Innovation Economics Urban secession Urban vitality References Bibliography Further reading External links Jane Jacobs's Order of Canada Citation Jane Jacobs's Papers at John J. Burns Library, Boston College Jane Jacobs Oral History, 1997 Greenwich Village Society for Historic Preservation Jane Jacobs's Legacy, City Journal online, July 31, 2009 1916 births 2006 deaths American architecture writers Naturalized citizens of Canada Tax resisters Women urban planners Anti-road protest Canadian architecture writers Canadian women non-fiction writers Canadian social commentators Interstate 78 Members of the Order of Ontario Moral philosophers Officers of the Order of Canada People from Greenwich Village Writers from Scranton, Pennsylvania Radical centrist writers Urban theorists Environmental economists Writers from Toronto Columbia University School of General Studies alumni American emigrants to Canada Women's page journalists

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Where did they move from

Where did the sisters move from?

Jane Jacobs

In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. CANNOTANSWER

Brooklyn.

{{Infobox person |image = Jane Jacobs.jpg |imagesize = |caption = Jacobs as chair of a Greenwich Village civic group at a 1961 press conference |name = Jane Jacobs |honorific_suffix = |birth_name = Jane Butzner |birth_date = |birth_place = Scranton, Pennsylvania, U.S. |death_date = |death_place = Toronto, Ontario, Canada |education = Graduate of Scranton Central High School; two years of undergraduate studies at Columbia University |occupation = Journalist, author, urban theorist |employer = Amerika, Architectural Forum |notable_works = The Death and Life of Great American Cities |organization = Joint Committee to Stop the Lower Manhattan Expressway, Stop Spadina Save Our City Coordinating Committee Carlos Moreno<ref>Willsher, Kim, Paris mayor unveils '15-minute city' plan in re-election campaign, The Guardian, Friday, February 7, 2020</ref> |awards = OC, OOnt, Vincent Scully Prize, National Building Museum |spouse = Robert Jacobs |children = Ned Jacobs, James Jacobs, Mary Burgin Jacobs }} Jane Jacobs (née Butzner; 4 May 1916 – 25 April 2006) was an American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city-dwellers. Jacobs organized grassroots efforts to protect neighborhoods from urban renewal and slum clearance – in particular plans by Robert Moses to overhaul her own Greenwich Village neighborhood. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, which would have passed directly through an area of Manhattan that later became known as SoHo, as well as part of Little Italy and Chinatown. She was arrested in 1968 for inciting a crowd at a public hearing on that project. After moving to Toronto in 1968, she joined the opposition to the Spadina Expressway and the associated network of expressways in Toronto that were planned and under construction. As a woman and a writer who criticized experts in the male-dominated field of urban planning, Jacobs endured scorn from established figures. Routinely, she was described first as a housewife, as she did not have a college degree or any formal training in urban planning; as a result, her lack of credentials was seized upon as grounds for criticism. However, the influence of her concepts eventually was acknowledged by highly respected professionals such as Richard Florida and Robert Lucas. Early years Jacobs was born Jane Isabel Butzner in Scranton, Pennsylvania, the daughter of Bess Robison Butzner, a former teacher and nurse and John Decker Butzner, a physician. They were a Protestant family in a heavily Roman Catholic town. Her brother, John Decker Butzner, Jr., served as a judge on the United States Court of Appeals for the Fourth Circuit. After graduation from Scranton High School, she worked for a year as the unpaid assistant to the women's page editor at the Scranton Tribune. New York City In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which deviated some from the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in Manhattan, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. Career After attending Columbia University's School of General Studies for two years, Butzner found a job at Iron Age magazine. Her 1943 article on economic decline in Scranton was well publicized and led the Murray Corporation of America to locate a warplane factory there. Encouraged by this success, Butzner petitioned the War Production Board to support more operations in Scranton. Experiencing job discrimination at Iron Age, she also advocated for equal pay for women and for the right of workers to unionize. Amerika She became a feature writer for the Office of War Information and then a reporter for Amerika, a publication of the U.S. State Department in the Russian language. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson Street. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect. The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard. Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On 25 March 1952, Jacobs delivered her response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said: The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe... Architectural Forum Jacobs left Amerika in 1952 when it announced its relocation to Washington, D.C. She then found a well-paying job at Architectural Forum, published by Henry Luce of Time Inc. She was hired as an associate editor. After early success in that position, Jacobs began to take assignments on urban planning and "urban blight". In 1954, she was assigned to cover a development in Philadelphia designed by Edmund Bacon. Although her editors expected a positive story, Jacobs criticized Bacon's project, reacting against its lack of concern for the poor African Americans who were directly affected. When Bacon showed Jacobs examples of undeveloped and developed blocks, she determined that "development" seemed to end community life on the street. When Jacobs returned to the offices of Architectural Forum, she began to question the 1950s consensus on urban planning. In 1955, Jacobs met William Kirk, an Episcopal minister who worked in East Harlem. Kirk came to the Architectural Forum offices to describe the impact that "revitalization" had on East Harlem, and he introduced Jacobs to the neighborhood. In 1956, while standing in for Douglas Haskell of Architectural Forum, Jacobs delivered a lecture at Harvard University. She addressed leading architects, urban planners, and intellectuals (including Lewis Mumford), speaking on the topic of East Harlem. She urged this audience to "respect – in the deepest sense – strips of chaos that have a weird wisdom of their own not yet encompassed in our concept of urban order." Contrary to her expectations, the talk was received with enthusiasm, but it also marked her as a threat to established urban planners, real estate owners, and developers. Architectural Forum printed the speech that year, along with photographs of East Harlem. Rockefeller Foundation and Death and Life of Great American Cities After reading her Harvard speech, William H. Whyte invited Jacobs to write an article for Fortune magazine. The resulting piece, "Downtown Is for People", appeared in a 1958 issue of Fortune, and marked her first public criticism of Robert Moses. Her criticism of the Lincoln Center was not popular with supporters of urban renewal at Architectural Forum and Fortune. C.D. Jackson, the publisher of Fortune, was outraged and over the telephone, demanded of Whyte: "Who is this crazy dame?" The Fortune article brought Jacobs to the attention of Chadbourne Gilpatric, then associate director of the Humanities Division at the Rockefeller Foundation. The foundation had moved aggressively into urban topics, with a recent award to the Massachusetts Institute of Technology for studies of urban aesthetics that would culminate in the publication of Kevin A. Lynch's Image of the City. In May 1958, Gilpatric invited Jacobs to begin serving as a reviewer for grant proposals. Later that year, the Rockefeller Foundation awarded a grant to Jacobs to produce a critical study of city planning and urban life in the U.S. (From the mid-1950s to the mid-1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee.) Gilpatric encouraged Jacobs to "explor[e] the field of urban design to look for ideas and actions which may improve thinking on how the design of cities might better serve urban life, including cultural and humane value." Affiliating with The New School (then called The New School for Social Research), she spent three years conducting research and writing drafts. In 1961, Random House published the result: The Death and Life of Great American Cities.The Death and Life of Great American Cities remains one of the most influential books in the history of American city planning. She coined the terms "social capital", "mixed primary uses", and "eyes on the street", which were adopted professionally in urban design, sociology, and many other fields. Jacobs painted a devastating picture of the profession of city planning, labeling it a pseudoscience. This angered the male-dominated urban planning profession. Jacobs was criticized with ad hominem attacks, being called a "militant dame" and a "housewife": an amateur who had no right to interfere with an established discipline. One planner dismissed Jacobs's book as "bitter coffee-house rambling". Robert Moses, sent a copy, called it "intemperate and also libelous... Sell this junk to someone else." Later, her book was criticized from the left for leaving out race and openly endorsing gentrification, which Jacobs referred to as "unslumming". In 1962, she resigned her position at Architectural Forum to become a full-time author and concentrate on raising her children. In other political activities she became an opponent of the Vietnam War, marched on the Pentagon in October 1967, and criticized the construction of the World Trade Center as a disaster for Manhattan's waterfront. Struggle for Greenwich Village During the 1950s and 1960s, her home neighborhood of Greenwich Village was being transformed by city and state efforts to build housing (see, for example, Jacobs's 1961 fight to build the West Village Houses in lieu of large apartment houses), private developers, the expansion of New York University, and by the urban renewal plans of Robert Moses. Moses' plan, funded as "slum clearance" by Title I of the Housing Act of 1949, also called for several blocks to be razed and replaced with upscale high-rises. The plan forced 132 families out of their homes and displaced 1,000 small businesses—the result was Washington Square Village. As part of his efforts to revitalize the area, Moses had proposed the extension of Fifth Avenue through Washington Square Park in 1935. In the face of community opposition, Moses had shelved the project, but revived the idea in the 1950s. Moses argued that the Fifth Avenue extension would improve the flow of traffic through the neighborhood and provide access to the planned Lower Manhattan Expressway (LOMEX), which would connect the Manhattan Bridge and Williamsburg Bridge with the Holland Tunnel. In response, local activist Shirley Hayes created the "Committee to Save Washington Square Park", a coalition of dozens of local neighborhood groups that opposed the roadway extension. Raymond S. Rubinow eventually took over the organization, changing its name to the "Joint Emergency Committee to Close Washington Square to Traffic". Jacobs had joined the committee under Hayes, but she took a more prominent role under Rubinow, reaching out to media outlets such as The Village Voice, which provided more sympathetic coverage than The New York Times. The committee gained the support of Margaret Mead, Eleanor Roosevelt, Lewis Mumford, Charles Abrams, and William H. Whyte, as well as Carmine De Sapio, a Greenwich Village resident and influential Democratic leader. De Sapio's involvement proved decisive. On 25 June 1958, the city closed Washington Square Park to traffic, and the joint committee held a ribbon tying (not cutting) ceremony. Plans for LOMEX expressway continued despite growing community opposition in areas such as Little Italy. In the 1960s, Jacobs chaired the Joint Committee to Stop the Lower Manhattan Expressway. The New York Times was sympathetic to Moses, while The Village Voice covered community rallies and advocated against the expressway. Jacobs continued to fight the expressway when plans resurfaced in 1962, 1965, and 1968, and she became a local hero for her opposition to the project. She was arrested by a plainclothes police officer on April 10, 1968, at a public hearing during which the crowd had charged the stage and destroyed the stenographer's notes. She was accused of inciting a riot, criminal mischief, and obstructing public administration. After months of trials conducted in New York City (to which Jacobs commuted from Toronto), her charge was reduced to disorderly conduct.New York: A Documentary Film devoted an hour of the eight-part, seventeen-and-a-half-hour series to the battle between Moses and Jacobs. Robert Caro's biography of Moses, The Power Broker, gives only passing mention to this event, however, despite Jacobs's strong influence on Caro. In 2017, Caro told an interviewer about the difficulty in cutting more than 300,000 words from his initial manuscript: "The section that I wrote on Jane Jacobs disappeared. To this day, when someone says: 'There's hardly a mention of Jane Jacobs,' I think, 'But I wrote a lot about her.' Every time I'm asked about that, I have this sick feeling." Life in Toronto Soon after her arrest in 1968, Jacobs moved to Toronto, eventually settling at 69 Albany Avenue in The Annex from 1971 until her death in 2006. She decided to leave the U.S. in part because she opposed the Vietnam War, she worried about the fate of her two draft-age sons, and she did not want to continue fighting the New York City government. She and her husband chose Toronto because it was pleasant and offered employment opportunities, and they moved to an area of Toronto that included so many Americans avoiding the draft that it was called the "American ghetto". She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether cities were being built for people or for cars. She was arrested twice during demonstrations. She also had considerable influence on the regeneration of the St. Lawrence neighborhood, a housing project regarded as a major success. She became a Canadian citizen in 1974 and later, she told writer James Howard Kunstler that dual citizenship was not possible at the time, implying that her U.S. citizenship was lost. In 1980, she offered a more urban perspective on Quebec's sovereignty in her book, The Question of Separatism: Quebec and the Struggle over Separation. Jacobs was an advocate of a Province of Toronto to separate the city proper from Ontario. Jacobs said, "Cities, to thrive in the twenty-first century, must separate themselves politically from their surrounding areas." She was selected to be an officer of the Order of Canada in 1996 for her seminal writings and thought-provoking commentaries on urban development. The community and urban sociology section of the American Sociological Association awarded her its Outstanding Lifetime Contribution award in 2002. In 1997, the city government of Toronto sponsored a conference entitled, "Jane Jacobs: Ideas That Matter", which led to a book by the same name. At the end of the conference, the Jane Jacobs Prize was created. It includes an annual stipend of $5,000 for three years to be given to "celebrate Toronto's original, unsung heroes – by seeking out citizens who are engaged in activities that contribute to the city's vitality". Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and she was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a longshot. During the mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city waterfront to Toronto City Centre Airport (TCCA). Following the election, the Toronto city council's earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport was still in operation as of 2019. In lieu of the bridge, a pedestrian tunnel broke ground in March 2012. The tunnel opened on 30 July 2015. Jacobs also was active in a campaign against a plan of Royal St. George's College (an established school very close to the Jacobs residence in Toronto's Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but that the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school's plans, the decision later was reversed – and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing. She also had an influence on Vancouver's urban planning. Jacobs has been called "the mother of Vancouverism", referring to that city's use of her "density done well" philosophy. Jacobs died in Toronto Western Hospital aged 89, on 25 April 2006, apparently of a stroke. She was survived by a brother, James Butzner (d. 2009); a daughter, Burgin Jacobs, her sons, James and Ned of Vancouver, and by two grandchildren and two great-grandchildren. Upon her death her family's statement noted: "What's important is not that she died but that she lived, and that her life's work has greatly influenced the way we think. Please remember her by reading her books and implementing her ideas". Legacy Jacobs is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. She has been characterized as a major influence on decentralist and radical centrist thought. She discussed her legacy in an interview with Reason magazine. While Jacobs saw her greatest legacy to be her contributions to economic theory, it is in the realm of urban planning that she has had her most extensive effect. Her observations about the ways in which cities function revolutionized the urban planning profession and discredited many accepted planning models that had dominated mid-century planning. The influential Harvard Economist Edward Glaeser, known for his work on urban studies, acknowledged that Jane Jacobs (1960s) had been prescient in attacking Moses for "replacing well-functioning neighborhoods with Le Corbusier-inspired towers". Glaeser agreed that these housing projects proved to be Moses' greatest failures, "Moses spent millions and evicted tens of thousands to create buildings that became centers of crime, poverty, and despair." She also was famous for introducing concepts such as the "Ballet of the Sidewalk" and "Eyes on the Street", a reference to what would later be known as natural surveillance. The concept had a huge influence on planners and architects such as Oscar Newman, who prepared the idea through a series of studies that would culminate in his defensible space theory. The work of Jacobs and Newman would go on to affect American housing policy through the HOPE VI Program, an effort by the United States Department of Housing and Urban Development to demolish the high-rise public housing projects so reviled by Jacobs and to replace them with low-rise, mixed-income housing. Throughout her life, Jacobs fought to alter the way in which city development was approached. By arguing that cities were living beings and ecosystems, she advocated ideas such as "mixed use" development and bottom-up planning. Furthermore, her harsh criticisms of "slum clearing" and "high-rise housing" projects were instrumental in discrediting these once universally supported planning practices. Jacobs is remembered as being an advocate for the mindful development of cities, and for leaving "a legacy of empowerment for citizens to trust their common sense and become advocates for their place". Despite the fact that Jacobs mainly focused on New York City, her arguments have been identified as universal. For instance, her opposition against the demolition of urban neighborhoods for projects of urban renewal had "special resonance" in Melbourne, Australia. In Melbourne in the 1960s, resident associations fought against large-scale high-rise housing projects of the Housing Commission of Victoria, which they argued had little regard for the impact on local communities. Jacobs fought an uphill battle against dominant trends of planning. Despite the United States remaining very much a suburban nation, the work of Jacobs has contributed to city living being rehabilitated and revitalized. Because of her ideas, today, many distressed urban neighborhoods are more likely to be gentrified than cleared for redevelopment. Samuel R. Delany's book Times Square Red, Times Square Blue relies heavily on The Death and Life of Great American Cities in its analysis of the nature of social relations within the realm of urban studies. Jane Jacobs Days After the death of Jacobs in April 2006, New York City Mayor Michael Bloomberg announced a Jane Jacobs Day, held on June 28, 2006. The City of Toronto proclaimed her birthday the following year, May 4, 2007, as Jane Jacobs Day. Jane's Walks In connection with Jane Jacobs Day in Toronto, two dozen free neighborhood walks in the city were offered that weekend (5 May 2007) as an active memorial to Jacobs, and they were dubbed Jane's Walks. Later, a Jane's Walk event was held in New York on September 29–30, 2007. In 2008, the event spread to eight cities and towns throughout Canada, and by 2016, Jane's Walks were taking place in 212 cities in 36 countries, on six continents. The interpretive walks typically apply ideas Jacobs identified or espoused to local areas, which are explored on foot and sometimes by bicycle. The walks normally take place in early May, on or close to her May 4 birth anniversary. Walks are organized and led by local volunteers, coordinated by a headquarters office in Toronto. There are more than 200 walks offered in Toronto, alone, in 2016, taking place on May 6, 7, and 8. Exhibitions In 2016, to mark the hundredth birth anniversary of Jane Jacobs, a Toronto gallery staged "Jane at Home", an exhibition running from April 29-May 8. Curated by Jane's son, Jim Jacobs, it offered glimpses of her home life, where she also worked. Her Toronto living room was represented, based on the one at her Albany Avenue house in The Annex, where she often spoke with noted thinkers and political leaders including Marshall McLuhan, Paul Martin, and the Queen of the Netherlands. On display were her typewriter, original manuscripts, rediscovered photographs demonstrating her distinctive styles, and personal mementos. The exhibit included furniture from previous homes in New York (her dining room is set up) and from Scranton, Pennsylvania.Jane at Home , Urbanspace Gallery, Toronto, 2016 In 2007, the Municipal Art Society of New York partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York," which opened at the society in September that year. The exhibit aimed to educate the public on her writings and activism and used tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication included essays and articles by such architecture critics, artists, activists, and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors participated in a series of panel discussions on "Jane Jacobs and the Future of New York". Jane Jacobs Medal As a tribute to Jacobs, the Rockefeller Foundation, which had awarded grants to Jacobs in the 1950s and 1960s, announced on February 9, 2007, the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City". Recipients include: Barry Benepe, co-founder of the New York City Green Market program and a founding member of Transportation Alternatives, was awarded with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize in September 2007. The inaugural Jane Jacobs Medal for New Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization. Peggy Shepard, executive director of West Harlem Environmental Action, received the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, received the award for New Ideas and Activism. Both women received their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City. Damaris Reyes, executive director of Good Old Lower East Side (GOLES), received the 2009 Jane Jacobs Medal for New Ideas and Activism. Richard Kahan, as founder and CEO of the Urban Assembly, which created and manages 22 secondary public schools located in many of the lowest income neighborhoods in New York City, received the 2009 Jane Jacobs Medal for Lifetime Leadership. Both received $100,000, in addition to the medal. The 2010 recipients were Joshua David and Robert Hammond, whose work in establishing the High Line Park atop an unused elevated railroad line, led the foundation to award the 2010 Jane Jacobs Medal for New Ideas and Activism, along with $60,000 to each man. The 2010 Jane Jacobs Medal for Lifetime Leadership was given to Elizabeth Barlow Rogers, for her longtime work as writer, park administrator, and co-founder of Central Park Conservancy. She received $80,000 as well. The Canadian Urban Institute offers an award to honor her, the Jane Jacobs Lifetime Achievement Award, to recognize a person "who has had significant impact on the health of their region consistent with Jane Jacob's belief that successful cities foster a place-based, community-centered approach." The 2011 winner was Eberhard Zeidler, while his daughter, Margie Zeidler, won the 2015 award. In 2012, Anne Golden took the prize "for her long-standing leadership in public policy, her academic work and her varied leadership experience in business, not-for-profit and government sectors." William (Bill) Teron accepted the 2013 award "for his influential career in public policy and passionate advocacy for quality design and commitment to development in the Ottawa area." In 2014, Jack Diamond was recognized for his "contribution to improving the built form and advocacy for cities and the future of the Greater Toronto Area." In April 2014, Spacing was appointed the stewards of the Jane Jacobs Prize. Spacing, winners of the prize in 2010, has continued to provide the award with a new life and new ways of promoting (and finding) the winners. Other honors Jane Jacobs Way, West Village, New York City (Hudson Street and Eleventh Street, New York, New York) Jane Jacobs Park, 11 Wellesley Street West, Toronto (construction began in 2016) Jane Jacobs sculptural chairs, Victoria Memorial Square (St. John's Square), Toronto Jane Jacobs Toronto Legacy Plaque, 69 Albany Avenue, Toronto Jacobs' Ladder, rose bushes dedicated by Grassroots Albany (neighbors) in 1997, Toronto Jane Jacobs Street, Mount Pleasant, South Carolina Jane Jacobs Street (Village of Cheshire) Black Mountain, North Carolina a Google Doodle marked the 100th anniversary of Jacobs's birth, on May 4, 2016, and was featured on Google's homepage in 15 countries on four continents a conference room at the offices of the New Economics Foundation in London is named in honor of Jacobs Jacobs received the second Vincent Scully Prize from the National Building Museum in 2000. Jacobs is the subject of the 2017 documentary film Citizen Jane: Battle for the City, which depicts her victories over Robert Moses and her philosophy of urban design. In popular culture A fictionalized version of her is played by Alison Smith in a season 1 episode of the Amazon series The Marvelous Mrs. Maisel. The community organizer played by Cherry Jones in Motherless Brooklyn has drawn comparisons to Jane Jacobs. The director, Edward Norton, has clarified that the composite character was partially based on Jacobs, but more so on Hortense Gabel who was active a decade earlier. The URL of the Facebook group New Urbanist Memes for Transit-Oriented Teens (NUMTOT) is whatwouldjanejacobsdo. Criticism The planners and developers she fought against to preserve the West Village were among those who initially criticized her ideas. Robert Moses has generally been identified as her arch-rival during this period. Since then, Jacobs's ideas have been analysed many times, often in regard to the outcomes that their influences have produced.Glaeser, Edward L. (2010) Taller Buildings, Cheaper Homes. The New York Times, 4 May 2010 6:02 amOuroussoff, Nicolai (2006) Outgrowing Jane Jacobs and Her New York. The New York Times, Published 30 April 2006Bratishenko, Lev (2016) Jane Jacobs's Tunnel Vision Why our cities need less Jane Jacobs. Literary Review of Canada, October 2016 In places such as the West Village, the factors that she argued would maintain economic and cultural diversity have led instead to gentrification and some of the most expensive real estate in the world. Her family's conversion of an old candy shop into a home is an example of the gentrifying trend that would continue under the influence of Jacobs's ideas. Gentrification also was caused, however, by "the completely unexpected influx of affluent residents back into the inner city". The extent to which her ideas facilitated this phenomenon was at the time unimaginable. For example, she advocated the preservation of older buildings specifically because their lack of economic value made them affordable for poor people. In this respect, she saw them as "guarantors of social diversity". That many of these older structures have increased in economic value solely due to their age was implausible in 1961. Issues of gentrification have dominated criticism of Jane Jacobs's planning ideas. Economist Tyler Cowen has criticized her ideas for not addressing problems of scale or infrastructure, and suggests that economists disagree with some of her approaches to development. For example, although her ideas of planning were praised at times as "universal", they are now thought inapplicable when a city grows from one million to ten million (as has happened many times in developing nations). Such arguments suggest that her ideas apply only to cities with similar issues to those of New York, where Jacobs developed many of them. Works Jane Jacobs spent her life studying cities. Her books include: The Death and Life of Great American Cities The Death and Life of Great American Cities is her single-most influential book and, possibly, the most influential book on urban planning and cities. Published in 1961, this book was widely read by both planning professionals and the general public. The book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. In the book, she celebrates the diversity and complexity of old-mixed use neighborhoods while lamenting the monotony and sterility of modern planning. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and she frequently cited New York City's Greenwich Village as an example of a vibrant urban community. Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, although Caro does not mention Jacobs by name in the book despite Jacobs's battles with Moses over his proposed Lower Manhattan Expressway. Caro reportedly cut a chapter about Jacobs due to his book's length. Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and anecdotes. The Economy of Cities The thesis of this book is that cities are the primary drivers of economic development. Her main argument is that explosive economic growth derives from urban import replacement. Import replacement is the process of producing goods locally that formerly were imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased production is subsequently exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth. In an interview with Bill Steigerwald in Reason Magazine, Jacobs said that if she is remembered for being a great intellectual she will be remembered not for her work concerning city planning, but for the discovery of import replacement. Critics erroneously claim that her ideas parrot the idea of import substitution advanced earlier by scholars such as Andre Gunder Frank. Import substitution was a national economic theory implying that if a nation substituted its imports with national production, the nation would become wealthier, whereas Jacob's idea is entirely about cities and could be called urban import substitution. However, even this would lead to confusion since in practice, import substitution in India and Latin America were government subsidized and mandated, whereas Jacobs's concept of import replacement is a free market process of discovery and division of labor within a city. In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition. Another interpretation of history, generally and erroneously considered to be contradictory to Jacobs's is supported by Marxist archaeologist Vere Gordon Childe and in recent times, by another historical materialist Charles Keith Maisels These writers argue that agriculture preceded cities. The apparent opposition between Childe and Jacobs theories rests in their definition of 'city', 'civilization', or 'urban'. Childe, like other materialists such as Maisels or Henri Lefebvre defines 'urban' or 'civilization' as Synoecism—as a literate, socially stratified, monolithic political community, whereas, as one can see from The Economy of Cities or from Cities and the Wealth of Nations, Jacobs defines the city purely along the lines of geographically dense trade giving way to entrepreneurial discovery and subsequent improvements in the division of labor. Without the requirements of literacy, monumental building, or the signs of specialized civil and armed forces, 'cities' can be accurately be interpreted to exists thousands of years before when Childe and Maisels place them. However, the Jacobs definition is supposition, since 'city' is defined simply as a large town or "a large human settlement" indicating permanence. The earliest remains of mankind uncovered by archaeologists do not give us more information other than that they were hunter-gatherers as there is no evidence yet of farming or settlement, implying nomadic lifestyles until further discoveries are found. The Question of Separatism: Quebec and the Struggle over Sovereignty The Question of Separatism incorporated and expanded Jacobs's presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. It was published in 1980 and reprinted in 2011 with a previously-unpublished 2005 interview with Robin Philpot on the subject in which she evokes the relative overlooking of that book among her usual readership. This was the first time Jacobs was requested to discuss it in an interview. Columnist Richard Gwyn advanced that while not openly criticizing her, English-speaking Canadians readers thought she did not understood how Canadian politics worked and that she was not being helpful in a time of distress for national unity (the 1980 referendum was just defeated by a vote of 60%). The Question of Separatism was also not mentioned in the bibliography of her 2006 obituary in The Globe and Mail. Jacobs's book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway's secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada's historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example, Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories. The relevant public views of René Lévesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed, an example being their failure to recognize that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada, an issue that is central to her book. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that ultimately, such a need can never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive. Cities and the Wealth of Nations Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, although it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs argues that it is not the nation-state, rather it is the city that is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all. Systems of Survival Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgments related to work, collected and sorted them to find that they fit two patterns of moral behavior that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time. It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her system are applicable to both syndromes. Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York subway police are paid bonuses here – reinterpreted slightly as a part of the larger analysis. The Nature of Economies The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p. ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiation and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p. 82). Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems. Jacobs's characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p. 86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p. 119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p. 137). The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds. One particularly interesting insight is the creation of "something from nothing" – an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work". Dark Age Ahead Published in 2004 by Random House, Dark Age Ahead posits Jacobs's argument that "North American" civilization shows signs of a spiral decline comparable to the collapse of the Roman empire. Her discussion focuses on "five pillars of our culture that we depend on to stand firm", which can be summarized as the nuclear family and community; quality in education; free thought in science; representational government and responsible taxes; and corporate and professional accountability. As the title of this book suggests, Jacobs's outlook is far more pessimistic than that of her previous works. However, in the conclusion she admits: "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true." While Jacobs idealized U.S. democracy, Dark Age Ahead echoes the skepticism and disappointment that led to her emigration to Canada in 1968. Later, she would indicate that North American cultures, among others, were grounded in a "plantation mentality" that was culturally and ecologically unsustainable. Orthodox urbanism Jane Jacobs asserts in her work, The Death and Life of Great American Cities, that the sources of orthodox urbanism are: Garden Cities of Tomorrow, Ebenezer Howard The Culture of Cities, Lewis Mumford Cities in Evolution, Sir Patrick Geddes Modern Housing, Catherine Bauer Toward New Towns for America, Clarence Stein Nothing Gained by Overcrowding, Sir Raymond Unwin The City of Tomorrow and Its Planning, Le Corbusier Writings Constitutional chaff; rejected suggestions of the Constitutional Convention of 1787, with explanatory argument Compiled by Jane Butzner, (1941) Columbia University Press; Compiled by Jane Jacobs (Née Butzner), Reprinted 1970 by Kennikat Press, Port Washington, New York. The Death and Life of Great American Cities (1961) New York: Random House. The Economy of Cities (1969) The Question of Separatism: Quebec and the Struggle over Sovereignty (1980 Random House and 2011 Baraka Books) Cities and the Wealth of Nations (1985) The Girl on the Hat (Children's Book Illustrated by Karen Reczuch), (June 1990) Oxford University Press. Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics (1992) A Schoolteacher in Old Alaska – The Story of Hannah Breece (1995) Random House of Canada. The Nature of Economies (2000) New York: Random House, The Modern Library. Dark Age Ahead (2004) Vital Little Plans: The Short Works of Jane Jacobs'' (2016) New York: Random House. See also David Crombie Fred Gardiner Innovation Economics Urban secession Urban vitality References Bibliography Further reading External links Jane Jacobs's Order of Canada Citation Jane Jacobs's Papers at John J. Burns Library, Boston College Jane Jacobs Oral History, 1997 Greenwich Village Society for Historic Preservation Jane Jacobs's Legacy, City Journal online, July 31, 2009 1916 births 2006 deaths American architecture writers Naturalized citizens of Canada Tax resisters Women urban planners Anti-road protest Canadian architecture writers Canadian women non-fiction writers Canadian social commentators Interstate 78 Members of the Order of Ontario Moral philosophers Officers of the Order of Canada People from Greenwich Village Writers from Scranton, Pennsylvania Radical centrist writers Urban theorists Environmental economists Writers from Toronto Columbia University School of General Studies alumni American emigrants to Canada Women's page journalists

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What did the do then

What did the sisters do after they moved to Brooklyn?

Jane Jacobs

In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which did not conform to the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "... gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. CANNOTANSWER

During her early years in the city, Jacobs held a variety of jobs working as a stenographer and freelance writer,

{{Infobox person |image = Jane Jacobs.jpg |imagesize = |caption = Jacobs as chair of a Greenwich Village civic group at a 1961 press conference |name = Jane Jacobs |honorific_suffix = |birth_name = Jane Butzner |birth_date = |birth_place = Scranton, Pennsylvania, U.S. |death_date = |death_place = Toronto, Ontario, Canada |education = Graduate of Scranton Central High School; two years of undergraduate studies at Columbia University |occupation = Journalist, author, urban theorist |employer = Amerika, Architectural Forum |notable_works = The Death and Life of Great American Cities |organization = Joint Committee to Stop the Lower Manhattan Expressway, Stop Spadina Save Our City Coordinating Committee Carlos Moreno<ref>Willsher, Kim, Paris mayor unveils '15-minute city' plan in re-election campaign, The Guardian, Friday, February 7, 2020</ref> |awards = OC, OOnt, Vincent Scully Prize, National Building Museum |spouse = Robert Jacobs |children = Ned Jacobs, James Jacobs, Mary Burgin Jacobs }} Jane Jacobs (née Butzner; 4 May 1916 – 25 April 2006) was an American-Canadian journalist, author, theorist, and activist who influenced urban studies, sociology, and economics. Her book The Death and Life of Great American Cities (1961) argued that "urban renewal" and "slum clearance" did not respect the needs of city-dwellers. Jacobs organized grassroots efforts to protect neighborhoods from urban renewal and slum clearance – in particular plans by Robert Moses to overhaul her own Greenwich Village neighborhood. She was instrumental in the eventual cancellation of the Lower Manhattan Expressway, which would have passed directly through an area of Manhattan that later became known as SoHo, as well as part of Little Italy and Chinatown. She was arrested in 1968 for inciting a crowd at a public hearing on that project. After moving to Toronto in 1968, she joined the opposition to the Spadina Expressway and the associated network of expressways in Toronto that were planned and under construction. As a woman and a writer who criticized experts in the male-dominated field of urban planning, Jacobs endured scorn from established figures. Routinely, she was described first as a housewife, as she did not have a college degree or any formal training in urban planning; as a result, her lack of credentials was seized upon as grounds for criticism. However, the influence of her concepts eventually was acknowledged by highly respected professionals such as Richard Florida and Robert Lucas. Early years Jacobs was born Jane Isabel Butzner in Scranton, Pennsylvania, the daughter of Bess Robison Butzner, a former teacher and nurse and John Decker Butzner, a physician. They were a Protestant family in a heavily Roman Catholic town. Her brother, John Decker Butzner, Jr., served as a judge on the United States Court of Appeals for the Fourth Circuit. After graduation from Scranton High School, she worked for a year as the unpaid assistant to the women's page editor at the Scranton Tribune. New York City In 1935, during the Great Depression, she moved to New York City with her sister Betty. Jane Butzner took an immediate liking to Manhattan's Greenwich Village, which deviated some from the city's grid structure. The sisters soon moved there from Brooklyn. During her early years in Manhattan, Jacobs held a variety of jobs working as a stenographer and freelance writer, writing about working districts in the city. These experiences, she later said, "gave me more of a notion of what was going on in the city and what business was like, what work was like." Her first job was for a trade magazine, as a secretary, then an editor. She sold articles to the Sunday Herald Tribune, Cue magazine, and Vogue. She studied at Columbia University's School of General Studies for two years, taking courses in geology, zoology, law, political science, and economics. About the freedom to pursue study across her wide-ranging interests, she said: For the first time I liked school and for the first time I made good marks. This was almost my undoing because after I had garnered, statistically, a certain number of credits I became the property of Barnard College at Columbia, and once I was the property of Barnard I had to take, it seemed, what Barnard wanted me to take, not what I wanted to learn. Fortunately my high-school marks had been so bad that Barnard decided I could not belong to it and I was therefore allowed to continue getting an education. Career After attending Columbia University's School of General Studies for two years, Butzner found a job at Iron Age magazine. Her 1943 article on economic decline in Scranton was well publicized and led the Murray Corporation of America to locate a warplane factory there. Encouraged by this success, Butzner petitioned the War Production Board to support more operations in Scranton. Experiencing job discrimination at Iron Age, she also advocated for equal pay for women and for the right of workers to unionize. Amerika She became a feature writer for the Office of War Information and then a reporter for Amerika, a publication of the U.S. State Department in the Russian language. While working there she met Robert Hyde Jacobs Jr., a Columbia-educated architect who was designing warplanes for Grumman. They married in 1944. Together they had a daughter, Burgin, and two sons, James and Ned. They bought a three-story building at 555 Hudson Street. Jane continued to write for Amerika after the war, while Robert left Grumman and resumed work as an architect. The Jacobses rejected the rapidly growing suburbs as "parasitic", choosing to remain in Greenwich Village. They renovated their house, in the middle of a mixed residential and commercial area, and created a garden in the backyard. Working for the State Department during the McCarthy era, Jacobs received a questionnaire about her political beliefs and loyalties. Jacobs was anti-communist and had left the Federal Workers Union because of its apparent communist sympathies. Nevertheless, she was pro-union and purportedly appreciated the writing of Saul Alinsky; therefore she was under suspicion. On 25 March 1952, Jacobs delivered her response to Conrad E. Snow, chairman of the Loyalty Security Board at the United States Department of State. In her foreword to her answer, she said: The other threat to the security of our tradition, I believe, lies at home. It is the current fear of radical ideas and of people who propound them. I do not agree with the extremists of either the left or the right, but I think they should be allowed to speak and to publish, both because they themselves have, and ought to have, rights, and once their rights are gone, the rights of the rest of us are hardly safe... Architectural Forum Jacobs left Amerika in 1952 when it announced its relocation to Washington, D.C. She then found a well-paying job at Architectural Forum, published by Henry Luce of Time Inc. She was hired as an associate editor. After early success in that position, Jacobs began to take assignments on urban planning and "urban blight". In 1954, she was assigned to cover a development in Philadelphia designed by Edmund Bacon. Although her editors expected a positive story, Jacobs criticized Bacon's project, reacting against its lack of concern for the poor African Americans who were directly affected. When Bacon showed Jacobs examples of undeveloped and developed blocks, she determined that "development" seemed to end community life on the street. When Jacobs returned to the offices of Architectural Forum, she began to question the 1950s consensus on urban planning. In 1955, Jacobs met William Kirk, an Episcopal minister who worked in East Harlem. Kirk came to the Architectural Forum offices to describe the impact that "revitalization" had on East Harlem, and he introduced Jacobs to the neighborhood. In 1956, while standing in for Douglas Haskell of Architectural Forum, Jacobs delivered a lecture at Harvard University. She addressed leading architects, urban planners, and intellectuals (including Lewis Mumford), speaking on the topic of East Harlem. She urged this audience to "respect – in the deepest sense – strips of chaos that have a weird wisdom of their own not yet encompassed in our concept of urban order." Contrary to her expectations, the talk was received with enthusiasm, but it also marked her as a threat to established urban planners, real estate owners, and developers. Architectural Forum printed the speech that year, along with photographs of East Harlem. Rockefeller Foundation and Death and Life of Great American Cities After reading her Harvard speech, William H. Whyte invited Jacobs to write an article for Fortune magazine. The resulting piece, "Downtown Is for People", appeared in a 1958 issue of Fortune, and marked her first public criticism of Robert Moses. Her criticism of the Lincoln Center was not popular with supporters of urban renewal at Architectural Forum and Fortune. C.D. Jackson, the publisher of Fortune, was outraged and over the telephone, demanded of Whyte: "Who is this crazy dame?" The Fortune article brought Jacobs to the attention of Chadbourne Gilpatric, then associate director of the Humanities Division at the Rockefeller Foundation. The foundation had moved aggressively into urban topics, with a recent award to the Massachusetts Institute of Technology for studies of urban aesthetics that would culminate in the publication of Kevin A. Lynch's Image of the City. In May 1958, Gilpatric invited Jacobs to begin serving as a reviewer for grant proposals. Later that year, the Rockefeller Foundation awarded a grant to Jacobs to produce a critical study of city planning and urban life in the U.S. (From the mid-1950s to the mid-1960s, the foundation's Humanities Division sponsored an "Urban Design Studies" research program, of which Jacobs was the best known grantee.) Gilpatric encouraged Jacobs to "explor[e] the field of urban design to look for ideas and actions which may improve thinking on how the design of cities might better serve urban life, including cultural and humane value." Affiliating with The New School (then called The New School for Social Research), she spent three years conducting research and writing drafts. In 1961, Random House published the result: The Death and Life of Great American Cities.The Death and Life of Great American Cities remains one of the most influential books in the history of American city planning. She coined the terms "social capital", "mixed primary uses", and "eyes on the street", which were adopted professionally in urban design, sociology, and many other fields. Jacobs painted a devastating picture of the profession of city planning, labeling it a pseudoscience. This angered the male-dominated urban planning profession. Jacobs was criticized with ad hominem attacks, being called a "militant dame" and a "housewife": an amateur who had no right to interfere with an established discipline. One planner dismissed Jacobs's book as "bitter coffee-house rambling". Robert Moses, sent a copy, called it "intemperate and also libelous... Sell this junk to someone else." Later, her book was criticized from the left for leaving out race and openly endorsing gentrification, which Jacobs referred to as "unslumming". In 1962, she resigned her position at Architectural Forum to become a full-time author and concentrate on raising her children. In other political activities she became an opponent of the Vietnam War, marched on the Pentagon in October 1967, and criticized the construction of the World Trade Center as a disaster for Manhattan's waterfront. Struggle for Greenwich Village During the 1950s and 1960s, her home neighborhood of Greenwich Village was being transformed by city and state efforts to build housing (see, for example, Jacobs's 1961 fight to build the West Village Houses in lieu of large apartment houses), private developers, the expansion of New York University, and by the urban renewal plans of Robert Moses. Moses' plan, funded as "slum clearance" by Title I of the Housing Act of 1949, also called for several blocks to be razed and replaced with upscale high-rises. The plan forced 132 families out of their homes and displaced 1,000 small businesses—the result was Washington Square Village. As part of his efforts to revitalize the area, Moses had proposed the extension of Fifth Avenue through Washington Square Park in 1935. In the face of community opposition, Moses had shelved the project, but revived the idea in the 1950s. Moses argued that the Fifth Avenue extension would improve the flow of traffic through the neighborhood and provide access to the planned Lower Manhattan Expressway (LOMEX), which would connect the Manhattan Bridge and Williamsburg Bridge with the Holland Tunnel. In response, local activist Shirley Hayes created the "Committee to Save Washington Square Park", a coalition of dozens of local neighborhood groups that opposed the roadway extension. Raymond S. Rubinow eventually took over the organization, changing its name to the "Joint Emergency Committee to Close Washington Square to Traffic". Jacobs had joined the committee under Hayes, but she took a more prominent role under Rubinow, reaching out to media outlets such as The Village Voice, which provided more sympathetic coverage than The New York Times. The committee gained the support of Margaret Mead, Eleanor Roosevelt, Lewis Mumford, Charles Abrams, and William H. Whyte, as well as Carmine De Sapio, a Greenwich Village resident and influential Democratic leader. De Sapio's involvement proved decisive. On 25 June 1958, the city closed Washington Square Park to traffic, and the joint committee held a ribbon tying (not cutting) ceremony. Plans for LOMEX expressway continued despite growing community opposition in areas such as Little Italy. In the 1960s, Jacobs chaired the Joint Committee to Stop the Lower Manhattan Expressway. The New York Times was sympathetic to Moses, while The Village Voice covered community rallies and advocated against the expressway. Jacobs continued to fight the expressway when plans resurfaced in 1962, 1965, and 1968, and she became a local hero for her opposition to the project. She was arrested by a plainclothes police officer on April 10, 1968, at a public hearing during which the crowd had charged the stage and destroyed the stenographer's notes. She was accused of inciting a riot, criminal mischief, and obstructing public administration. After months of trials conducted in New York City (to which Jacobs commuted from Toronto), her charge was reduced to disorderly conduct.New York: A Documentary Film devoted an hour of the eight-part, seventeen-and-a-half-hour series to the battle between Moses and Jacobs. Robert Caro's biography of Moses, The Power Broker, gives only passing mention to this event, however, despite Jacobs's strong influence on Caro. In 2017, Caro told an interviewer about the difficulty in cutting more than 300,000 words from his initial manuscript: "The section that I wrote on Jane Jacobs disappeared. To this day, when someone says: 'There's hardly a mention of Jane Jacobs,' I think, 'But I wrote a lot about her.' Every time I'm asked about that, I have this sick feeling." Life in Toronto Soon after her arrest in 1968, Jacobs moved to Toronto, eventually settling at 69 Albany Avenue in The Annex from 1971 until her death in 2006. She decided to leave the U.S. in part because she opposed the Vietnam War, she worried about the fate of her two draft-age sons, and she did not want to continue fighting the New York City government. She and her husband chose Toronto because it was pleasant and offered employment opportunities, and they moved to an area of Toronto that included so many Americans avoiding the draft that it was called the "American ghetto". She quickly became a leading figure in her new city and helped stop the proposed Spadina Expressway. A frequent theme of her work was to ask whether cities were being built for people or for cars. She was arrested twice during demonstrations. She also had considerable influence on the regeneration of the St. Lawrence neighborhood, a housing project regarded as a major success. She became a Canadian citizen in 1974 and later, she told writer James Howard Kunstler that dual citizenship was not possible at the time, implying that her U.S. citizenship was lost. In 1980, she offered a more urban perspective on Quebec's sovereignty in her book, The Question of Separatism: Quebec and the Struggle over Separation. Jacobs was an advocate of a Province of Toronto to separate the city proper from Ontario. Jacobs said, "Cities, to thrive in the twenty-first century, must separate themselves politically from their surrounding areas." She was selected to be an officer of the Order of Canada in 1996 for her seminal writings and thought-provoking commentaries on urban development. The community and urban sociology section of the American Sociological Association awarded her its Outstanding Lifetime Contribution award in 2002. In 1997, the city government of Toronto sponsored a conference entitled, "Jane Jacobs: Ideas That Matter", which led to a book by the same name. At the end of the conference, the Jane Jacobs Prize was created. It includes an annual stipend of $5,000 for three years to be given to "celebrate Toronto's original, unsung heroes – by seeking out citizens who are engaged in activities that contribute to the city's vitality". Jacobs never shied away from expressing her political support for specific candidates. She opposed the 1997 amalgamation of the cities of Metro Toronto, fearing that individual neighborhoods would have less power with the new structure. She backed an ecologist, Tooker Gomberg, who lost Toronto's 2000 mayoralty race, and she was an adviser to David Miller's successful mayoral campaign in 2003, at a time when he was seen as a longshot. During the mayoral campaign, Jacobs helped lobby against the construction of a bridge to join the city waterfront to Toronto City Centre Airport (TCCA). Following the election, the Toronto city council's earlier decision to approve the bridge was reversed and bridge construction project was stopped. TCCA did upgrade the ferry service and the airport was still in operation as of 2019. In lieu of the bridge, a pedestrian tunnel broke ground in March 2012. The tunnel opened on 30 July 2015. Jacobs also was active in a campaign against a plan of Royal St. George's College (an established school very close to the Jacobs residence in Toronto's Annex district) to reconfigure its facilities. Jacobs suggested not only that the redesign be stopped but that the school be forced from the neighborhood entirely. Although Toronto council initially rejected the school's plans, the decision later was reversed – and the project was given the go-ahead by the Ontario Municipal Board (OMB) when opponents failed to produce credible witnesses and tried to withdraw from the case during the hearing. She also had an influence on Vancouver's urban planning. Jacobs has been called "the mother of Vancouverism", referring to that city's use of her "density done well" philosophy. Jacobs died in Toronto Western Hospital aged 89, on 25 April 2006, apparently of a stroke. She was survived by a brother, James Butzner (d. 2009); a daughter, Burgin Jacobs, her sons, James and Ned of Vancouver, and by two grandchildren and two great-grandchildren. Upon her death her family's statement noted: "What's important is not that she died but that she lived, and that her life's work has greatly influenced the way we think. Please remember her by reading her books and implementing her ideas". Legacy Jacobs is credited, along with Lewis Mumford, with inspiring the New Urbanist movement. She has been characterized as a major influence on decentralist and radical centrist thought. She discussed her legacy in an interview with Reason magazine. While Jacobs saw her greatest legacy to be her contributions to economic theory, it is in the realm of urban planning that she has had her most extensive effect. Her observations about the ways in which cities function revolutionized the urban planning profession and discredited many accepted planning models that had dominated mid-century planning. The influential Harvard Economist Edward Glaeser, known for his work on urban studies, acknowledged that Jane Jacobs (1960s) had been prescient in attacking Moses for "replacing well-functioning neighborhoods with Le Corbusier-inspired towers". Glaeser agreed that these housing projects proved to be Moses' greatest failures, "Moses spent millions and evicted tens of thousands to create buildings that became centers of crime, poverty, and despair." She also was famous for introducing concepts such as the "Ballet of the Sidewalk" and "Eyes on the Street", a reference to what would later be known as natural surveillance. The concept had a huge influence on planners and architects such as Oscar Newman, who prepared the idea through a series of studies that would culminate in his defensible space theory. The work of Jacobs and Newman would go on to affect American housing policy through the HOPE VI Program, an effort by the United States Department of Housing and Urban Development to demolish the high-rise public housing projects so reviled by Jacobs and to replace them with low-rise, mixed-income housing. Throughout her life, Jacobs fought to alter the way in which city development was approached. By arguing that cities were living beings and ecosystems, she advocated ideas such as "mixed use" development and bottom-up planning. Furthermore, her harsh criticisms of "slum clearing" and "high-rise housing" projects were instrumental in discrediting these once universally supported planning practices. Jacobs is remembered as being an advocate for the mindful development of cities, and for leaving "a legacy of empowerment for citizens to trust their common sense and become advocates for their place". Despite the fact that Jacobs mainly focused on New York City, her arguments have been identified as universal. For instance, her opposition against the demolition of urban neighborhoods for projects of urban renewal had "special resonance" in Melbourne, Australia. In Melbourne in the 1960s, resident associations fought against large-scale high-rise housing projects of the Housing Commission of Victoria, which they argued had little regard for the impact on local communities. Jacobs fought an uphill battle against dominant trends of planning. Despite the United States remaining very much a suburban nation, the work of Jacobs has contributed to city living being rehabilitated and revitalized. Because of her ideas, today, many distressed urban neighborhoods are more likely to be gentrified than cleared for redevelopment. Samuel R. Delany's book Times Square Red, Times Square Blue relies heavily on The Death and Life of Great American Cities in its analysis of the nature of social relations within the realm of urban studies. Jane Jacobs Days After the death of Jacobs in April 2006, New York City Mayor Michael Bloomberg announced a Jane Jacobs Day, held on June 28, 2006. The City of Toronto proclaimed her birthday the following year, May 4, 2007, as Jane Jacobs Day. Jane's Walks In connection with Jane Jacobs Day in Toronto, two dozen free neighborhood walks in the city were offered that weekend (5 May 2007) as an active memorial to Jacobs, and they were dubbed Jane's Walks. Later, a Jane's Walk event was held in New York on September 29–30, 2007. In 2008, the event spread to eight cities and towns throughout Canada, and by 2016, Jane's Walks were taking place in 212 cities in 36 countries, on six continents. The interpretive walks typically apply ideas Jacobs identified or espoused to local areas, which are explored on foot and sometimes by bicycle. The walks normally take place in early May, on or close to her May 4 birth anniversary. Walks are organized and led by local volunteers, coordinated by a headquarters office in Toronto. There are more than 200 walks offered in Toronto, alone, in 2016, taking place on May 6, 7, and 8. Exhibitions In 2016, to mark the hundredth birth anniversary of Jane Jacobs, a Toronto gallery staged "Jane at Home", an exhibition running from April 29-May 8. Curated by Jane's son, Jim Jacobs, it offered glimpses of her home life, where she also worked. Her Toronto living room was represented, based on the one at her Albany Avenue house in The Annex, where she often spoke with noted thinkers and political leaders including Marshall McLuhan, Paul Martin, and the Queen of the Netherlands. On display were her typewriter, original manuscripts, rediscovered photographs demonstrating her distinctive styles, and personal mementos. The exhibit included furniture from previous homes in New York (her dining room is set up) and from Scranton, Pennsylvania.Jane at Home , Urbanspace Gallery, Toronto, 2016 In 2007, the Municipal Art Society of New York partnered with the Rockefeller Foundation to host an exhibit focusing on "Jane Jacobs and the Future of New York," which opened at the society in September that year. The exhibit aimed to educate the public on her writings and activism and used tools to encourage new generations to become active in issues involving their own neighborhoods. An accompanying exhibit publication included essays and articles by such architecture critics, artists, activists, and journalists as Malcolm Gladwell, Reverend Billy, Robert Neuwirth, Tom Wolfe, Thomas de Monchaux, and William McDonough. Many of these contributors participated in a series of panel discussions on "Jane Jacobs and the Future of New York". Jane Jacobs Medal As a tribute to Jacobs, the Rockefeller Foundation, which had awarded grants to Jacobs in the 1950s and 1960s, announced on February 9, 2007, the creation of the Jane Jacobs Medal, "to recognize individuals who have made a significant contribution to thinking about urban design, specifically in New York City". Recipients include: Barry Benepe, co-founder of the New York City Green Market program and a founding member of Transportation Alternatives, was awarded with the inaugural Jane Jacobs Medal for Lifetime Leadership and a $100,000 cash prize in September 2007. The inaugural Jane Jacobs Medal for New Ideas and Activism was awarded to Omar Freilla, the founder of Green Worker Cooperatives in the South Bronx; Mr. Freilla donated his $100,000 to his organization. Peggy Shepard, executive director of West Harlem Environmental Action, received the 2008 Jane Jacobs Medal for Lifetime Leadership and Alexie Torres-Fleming, founder of Youth Ministries for Peace and Justice, received the award for New Ideas and Activism. Both women received their medals and $100,000 awards at a dinner ceremony in September 2008 in New York City. Damaris Reyes, executive director of Good Old Lower East Side (GOLES), received the 2009 Jane Jacobs Medal for New Ideas and Activism. Richard Kahan, as founder and CEO of the Urban Assembly, which created and manages 22 secondary public schools located in many of the lowest income neighborhoods in New York City, received the 2009 Jane Jacobs Medal for Lifetime Leadership. Both received $100,000, in addition to the medal. The 2010 recipients were Joshua David and Robert Hammond, whose work in establishing the High Line Park atop an unused elevated railroad line, led the foundation to award the 2010 Jane Jacobs Medal for New Ideas and Activism, along with $60,000 to each man. The 2010 Jane Jacobs Medal for Lifetime Leadership was given to Elizabeth Barlow Rogers, for her longtime work as writer, park administrator, and co-founder of Central Park Conservancy. She received $80,000 as well. The Canadian Urban Institute offers an award to honor her, the Jane Jacobs Lifetime Achievement Award, to recognize a person "who has had significant impact on the health of their region consistent with Jane Jacob's belief that successful cities foster a place-based, community-centered approach." The 2011 winner was Eberhard Zeidler, while his daughter, Margie Zeidler, won the 2015 award. In 2012, Anne Golden took the prize "for her long-standing leadership in public policy, her academic work and her varied leadership experience in business, not-for-profit and government sectors." William (Bill) Teron accepted the 2013 award "for his influential career in public policy and passionate advocacy for quality design and commitment to development in the Ottawa area." In 2014, Jack Diamond was recognized for his "contribution to improving the built form and advocacy for cities and the future of the Greater Toronto Area." In April 2014, Spacing was appointed the stewards of the Jane Jacobs Prize. Spacing, winners of the prize in 2010, has continued to provide the award with a new life and new ways of promoting (and finding) the winners. Other honors Jane Jacobs Way, West Village, New York City (Hudson Street and Eleventh Street, New York, New York) Jane Jacobs Park, 11 Wellesley Street West, Toronto (construction began in 2016) Jane Jacobs sculptural chairs, Victoria Memorial Square (St. John's Square), Toronto Jane Jacobs Toronto Legacy Plaque, 69 Albany Avenue, Toronto Jacobs' Ladder, rose bushes dedicated by Grassroots Albany (neighbors) in 1997, Toronto Jane Jacobs Street, Mount Pleasant, South Carolina Jane Jacobs Street (Village of Cheshire) Black Mountain, North Carolina a Google Doodle marked the 100th anniversary of Jacobs's birth, on May 4, 2016, and was featured on Google's homepage in 15 countries on four continents a conference room at the offices of the New Economics Foundation in London is named in honor of Jacobs Jacobs received the second Vincent Scully Prize from the National Building Museum in 2000. Jacobs is the subject of the 2017 documentary film Citizen Jane: Battle for the City, which depicts her victories over Robert Moses and her philosophy of urban design. In popular culture A fictionalized version of her is played by Alison Smith in a season 1 episode of the Amazon series The Marvelous Mrs. Maisel. The community organizer played by Cherry Jones in Motherless Brooklyn has drawn comparisons to Jane Jacobs. The director, Edward Norton, has clarified that the composite character was partially based on Jacobs, but more so on Hortense Gabel who was active a decade earlier. The URL of the Facebook group New Urbanist Memes for Transit-Oriented Teens (NUMTOT) is whatwouldjanejacobsdo. Criticism The planners and developers she fought against to preserve the West Village were among those who initially criticized her ideas. Robert Moses has generally been identified as her arch-rival during this period. Since then, Jacobs's ideas have been analysed many times, often in regard to the outcomes that their influences have produced.Glaeser, Edward L. (2010) Taller Buildings, Cheaper Homes. The New York Times, 4 May 2010 6:02 amOuroussoff, Nicolai (2006) Outgrowing Jane Jacobs and Her New York. The New York Times, Published 30 April 2006Bratishenko, Lev (2016) Jane Jacobs's Tunnel Vision Why our cities need less Jane Jacobs. Literary Review of Canada, October 2016 In places such as the West Village, the factors that she argued would maintain economic and cultural diversity have led instead to gentrification and some of the most expensive real estate in the world. Her family's conversion of an old candy shop into a home is an example of the gentrifying trend that would continue under the influence of Jacobs's ideas. Gentrification also was caused, however, by "the completely unexpected influx of affluent residents back into the inner city". The extent to which her ideas facilitated this phenomenon was at the time unimaginable. For example, she advocated the preservation of older buildings specifically because their lack of economic value made them affordable for poor people. In this respect, she saw them as "guarantors of social diversity". That many of these older structures have increased in economic value solely due to their age was implausible in 1961. Issues of gentrification have dominated criticism of Jane Jacobs's planning ideas. Economist Tyler Cowen has criticized her ideas for not addressing problems of scale or infrastructure, and suggests that economists disagree with some of her approaches to development. For example, although her ideas of planning were praised at times as "universal", they are now thought inapplicable when a city grows from one million to ten million (as has happened many times in developing nations). Such arguments suggest that her ideas apply only to cities with similar issues to those of New York, where Jacobs developed many of them. Works Jane Jacobs spent her life studying cities. Her books include: The Death and Life of Great American Cities The Death and Life of Great American Cities is her single-most influential book and, possibly, the most influential book on urban planning and cities. Published in 1961, this book was widely read by both planning professionals and the general public. The book is a strong critique of the urban renewal policies of the 1950s, which, she claimed, destroyed communities and created isolated, unnatural urban spaces. In the book, she celebrates the diversity and complexity of old-mixed use neighborhoods while lamenting the monotony and sterility of modern planning. Jacobs advocated the abolition of zoning laws and restoration of free markets in land, which would result in dense, mixed-use neighborhoods and she frequently cited New York City's Greenwich Village as an example of a vibrant urban community. Robert Caro has cited it as the strongest influence on The Power Broker, his Pulitzer-winning biography of Robert Moses, although Caro does not mention Jacobs by name in the book despite Jacobs's battles with Moses over his proposed Lower Manhattan Expressway. Caro reportedly cut a chapter about Jacobs due to his book's length. Beyond the practical lessons in city design and planning that Death and Life offers, the theoretical underpinnings of the work challenge the modern development mindset. Jane Jacobs defends her positions with common sense and anecdotes. The Economy of Cities The thesis of this book is that cities are the primary drivers of economic development. Her main argument is that explosive economic growth derives from urban import replacement. Import replacement is the process of producing goods locally that formerly were imported, e.g., Tokyo bicycle factories replacing Tokyo bicycle importers in the 1800s. Jacobs claims that import replacement builds up local infrastructure, skills, and production. Jacobs also claims that the increased production is subsequently exported to other cities, giving those other cities a new opportunity to engage in import replacement, thus producing a positive cycle of growth. In an interview with Bill Steigerwald in Reason Magazine, Jacobs said that if she is remembered for being a great intellectual she will be remembered not for her work concerning city planning, but for the discovery of import replacement. Critics erroneously claim that her ideas parrot the idea of import substitution advanced earlier by scholars such as Andre Gunder Frank. Import substitution was a national economic theory implying that if a nation substituted its imports with national production, the nation would become wealthier, whereas Jacob's idea is entirely about cities and could be called urban import substitution. However, even this would lead to confusion since in practice, import substitution in India and Latin America were government subsidized and mandated, whereas Jacobs's concept of import replacement is a free market process of discovery and division of labor within a city. In the second part of the book, Jacobs argues that cities preceded agriculture. She argues that in cities trade in wild animals and grains allowed for the initial division of labor necessary for the discovery of husbandry and agriculture; these discoveries then moved out of the city due to land competition. Another interpretation of history, generally and erroneously considered to be contradictory to Jacobs's is supported by Marxist archaeologist Vere Gordon Childe and in recent times, by another historical materialist Charles Keith Maisels These writers argue that agriculture preceded cities. The apparent opposition between Childe and Jacobs theories rests in their definition of 'city', 'civilization', or 'urban'. Childe, like other materialists such as Maisels or Henri Lefebvre defines 'urban' or 'civilization' as Synoecism—as a literate, socially stratified, monolithic political community, whereas, as one can see from The Economy of Cities or from Cities and the Wealth of Nations, Jacobs defines the city purely along the lines of geographically dense trade giving way to entrepreneurial discovery and subsequent improvements in the division of labor. Without the requirements of literacy, monumental building, or the signs of specialized civil and armed forces, 'cities' can be accurately be interpreted to exists thousands of years before when Childe and Maisels place them. However, the Jacobs definition is supposition, since 'city' is defined simply as a large town or "a large human settlement" indicating permanence. The earliest remains of mankind uncovered by archaeologists do not give us more information other than that they were hunter-gatherers as there is no evidence yet of farming or settlement, implying nomadic lifestyles until further discoveries are found. The Question of Separatism: Quebec and the Struggle over Sovereignty The Question of Separatism incorporated and expanded Jacobs's presentation of the 1979 Massey Lectures, entitled Canadian Cities and Sovereignty-Association. It was published in 1980 and reprinted in 2011 with a previously-unpublished 2005 interview with Robin Philpot on the subject in which she evokes the relative overlooking of that book among her usual readership. This was the first time Jacobs was requested to discuss it in an interview. Columnist Richard Gwyn advanced that while not openly criticizing her, English-speaking Canadians readers thought she did not understood how Canadian politics worked and that she was not being helpful in a time of distress for national unity (the 1980 referendum was just defeated by a vote of 60%). The Question of Separatism was also not mentioned in the bibliography of her 2006 obituary in The Globe and Mail. Jacobs's book advances the view that Quebec's eventual independence is best for Montreal, Toronto, the rest of Canada, and the world; and that such independence can be achieved peacefully. As precedent, she cites Norway's secession from Sweden and how it enriched both nations. The origins of the contemporary secessionist-movement in the Quiet Revolution are examined, along with Canada's historical reliance on natural resources and foreign-owned manufacturing for its own economic development. Jacobs asserts that such an approach is colonial and hence backward, citing by example, Canada buying its skis and furniture from Norway or Norwegian-owned factories in Canada, the latter procedure being a product of Canadian tariffs designed specifically to foster such factories. The relevant public views of René Lévesque, Claude Ryan, and then Prime Minister Pierre Trudeau are also critically analyzed, an example being their failure to recognize that two respective, independent currencies are essential to the success of an independent Quebec and a smaller resultant Canada, an issue that is central to her book. Jacobs stresses the need for Montreal to continue developing its leadership of Québécois culture, but that ultimately, such a need can never be fulfilled by Montreal's increasing tendencies toward regional-city status, tendencies foretelling economic, political, and cultural subservience to English-speaking Toronto. Such an outcome, Jacobs believed, would in the long run doom Quebec's independence as much as it would hinder Canada's own future. She concludes with her observation that the popular equating of political secession with political and economic failure is the result of the Enlightenment, which perceived nature as a force for "standardization, uniformity, universality, and immutability." Since then, naturalists and their readers have gradually realized that nature is a force for diversity, and that, "diversity itself is of the essence of excellence." The right kind of secession, Jacobs states, can lead to the right kind of diversity, and Quebec and Canada are capable of both, and must achieve both, to survive. Cities and the Wealth of Nations Cities and the Wealth of Nations attempts to do for economics what The Death and Life of Great American Cities did for modern urban planning, although it has not received the same critical attention. Beginning with a concise treatment of classical economics, this book challenges one of the fundamental assumptions of the greatest economists. Classical (and Neo-classical) economists consider the nation-state to be the main player in macroeconomics. Jacobs argues that it is not the nation-state, rather it is the city that is the true player in this worldwide game. She restates the idea of import replacement from her earlier book The Economy of Cities, while speculating on the further ramifications of considering the city first and the nation second, or not at all. Systems of Survival Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics moves outside of the city, studying the moral underpinnings of work. As with her other work, she used an observational approach. This book is written as a Platonic dialogue. It appears that she (as described by characters in her book) took newspaper clippings of moral judgments related to work, collected and sorted them to find that they fit two patterns of moral behavior that were mutually exclusive. She calls these two patterns "Moral Syndrome A", or commercial moral syndrome, and "Moral Syndrome B", or guardian moral syndrome. She claims that the commercial moral syndrome is applicable to business owners, scientists, farmers, and traders. Similarly, she claims that the guardian moral syndrome is applicable to government, charities, hunter-gatherers, and religious institutions. She also claims that these Moral Syndromes are fixed, and do not fluctuate over time. It is important to stress that Jane Jacobs is providing a theory about the morality of work, and not all moral ideas. Moral ideas that are not included in her system are applicable to both syndromes. Jane Jacobs goes on to describe what happens when these two moral syndromes are mixed, showing the work underpinnings of the Mafia and communism, and what happens when New York subway police are paid bonuses here – reinterpreted slightly as a part of the larger analysis. The Nature of Economies The Nature of Economies, a dialog between friends concerning the premise: "human beings exist wholly within nature as part of the natural order in every respect" (p. ix), argues that the same principles underlie both ecosystems and economies: "development and co-development through differentiation and their combinations; expansion through diverse, multiple uses of energy; and self-maintenance through self-refueling" (p. 82). Jacobs also comments on the nature of economic and biological diversity and its role in the development and growth of the two kinds of systems. Jacobs's characters discuss the four methods by which "dynamically stable systems" may evade collapse: "bifurcations; positive-feedback loops; negative-feedback controls; and emergency adaptations" (p. 86). Their conversations also cover the "double nature of fitness for survival" (traits to avoid destroying one's own habitat as well as success in competition to feed and breed, p. 119), and unpredictability including the butterfly effect characterized in terms of multiplicity of variables as well as disproportional response to cause, and self-organization where "a system can be making itself up as it goes along" (p. 137). The book is infused with many real-world economic and biological examples, which help keep the book "down to earth" and comprehensible, if dense. Concepts are furnished with both economic and biological examples, showing their coherence in both worlds. One particularly interesting insight is the creation of "something from nothing" – an economy from nowhere. In the biological world, free energy is given through sunlight, but in the economic world human creativity and natural resources supply this free energy, or at least starter energy. Another interesting insight is the creation of economic diversity through the combination of different technologies, for example the typewriter and television as inputs and outputs of a computer system: this can lead to the creation of "new species of work". Dark Age Ahead Published in 2004 by Random House, Dark Age Ahead posits Jacobs's argument that "North American" civilization shows signs of a spiral decline comparable to the collapse of the Roman empire. Her discussion focuses on "five pillars of our culture that we depend on to stand firm", which can be summarized as the nuclear family and community; quality in education; free thought in science; representational government and responsible taxes; and corporate and professional accountability. As the title of this book suggests, Jacobs's outlook is far more pessimistic than that of her previous works. However, in the conclusion she admits: "At a given time it is hard to tell whether forces of cultural life or death are in the ascendancy. Is suburban sprawl, with its murders of communities and wastes of land, time, and energy, a sign of decay? Or is rising interest in means of overcoming sprawl a sign of vigor and adaptability in North American culture? Arguably, either could turn out to be true." While Jacobs idealized U.S. democracy, Dark Age Ahead echoes the skepticism and disappointment that led to her emigration to Canada in 1968. Later, she would indicate that North American cultures, among others, were grounded in a "plantation mentality" that was culturally and ecologically unsustainable. Orthodox urbanism Jane Jacobs asserts in her work, The Death and Life of Great American Cities, that the sources of orthodox urbanism are: Garden Cities of Tomorrow, Ebenezer Howard The Culture of Cities, Lewis Mumford Cities in Evolution, Sir Patrick Geddes Modern Housing, Catherine Bauer Toward New Towns for America, Clarence Stein Nothing Gained by Overcrowding, Sir Raymond Unwin The City of Tomorrow and Its Planning, Le Corbusier Writings Constitutional chaff; rejected suggestions of the Constitutional Convention of 1787, with explanatory argument Compiled by Jane Butzner, (1941) Columbia University Press; Compiled by Jane Jacobs (Née Butzner), Reprinted 1970 by Kennikat Press, Port Washington, New York. The Death and Life of Great American Cities (1961) New York: Random House. The Economy of Cities (1969) The Question of Separatism: Quebec and the Struggle over Sovereignty (1980 Random House and 2011 Baraka Books) Cities and the Wealth of Nations (1985) The Girl on the Hat (Children's Book Illustrated by Karen Reczuch), (June 1990) Oxford University Press. Systems of Survival: A Dialogue on the Moral Foundations of Commerce and Politics (1992) A Schoolteacher in Old Alaska – The Story of Hannah Breece (1995) Random House of Canada. The Nature of Economies (2000) New York: Random House, The Modern Library. Dark Age Ahead (2004) Vital Little Plans: The Short Works of Jane Jacobs'' (2016) New York: Random House. See also David Crombie Fred Gardiner Innovation Economics Urban secession Urban vitality References Bibliography Further reading External links Jane Jacobs's Order of Canada Citation Jane Jacobs's Papers at John J. Burns Library, Boston College Jane Jacobs Oral History, 1997 Greenwich Village Society for Historic Preservation Jane Jacobs's Legacy, City Journal online, July 31, 2009 1916 births 2006 deaths American architecture writers Naturalized citizens of Canada Tax resisters Women urban planners Anti-road protest Canadian architecture writers Canadian women non-fiction writers Canadian social commentators Interstate 78 Members of the Order of Ontario Moral philosophers Officers of the Order of Canada People from Greenwich Village Writers from Scranton, Pennsylvania Radical centrist writers Urban theorists Environmental economists Writers from Toronto Columbia University School of General Studies alumni American emigrants to Canada Women's page journalists

C_ae9bb47cde234280b28bfbbd3976fb78_0

Are these titles to songs Celine sang?

Are the titles Sans attendre and Loved Me Back to Life, songs that Celine sang?

Celine Dion

In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. Additionally, for a record sixth time, Dion performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, Dion appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, Dion released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, Dion made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. Dion began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. The music video for "Incredible" was uploaded onto Dion's official Vevo channel in early June 2014. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Celine une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. CANNOTANSWER

The French-language album, Sans attendre was released on 2 November 2012,

Céline Marie Claudette Dion (; born 30 March 1968) is a Canadian singer. She is noted for her powerful and technically skilled vocals. Dion is the best-selling Canadian recording artist, and the best-selling French language artist of all time. Her music has incorporated genres such as pop, rock, R&B, gospel, and classical music. Born into a large family from Charlemagne, Quebec, she emerged as a teen star in her home country with a series of French-language albums during the 1980s. She first gained international recognition by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest, where she represented Switzerland. After learning to speak English, she signed on to Epic Records in the United States. In 1990, Dion released her debut English-language album, Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. Her recordings since have been mainly in English and French although she has also sung in Spanish, Italian, German, Latin, Japanese, and Chinese. During the 1990s, she achieved worldwide fame after releasing several best-selling English-language albums in music history, such as Falling into You (1996) and Let's Talk About Love (1997), which were both certified diamond in the US and over 30 million sales worldwide each. She also scored a series of international number-one hits, including "The Power of Love", "Think Twice", "Because You Loved Me", "It's All Coming Back to Me Now", "My Heart Will Go On", and "I'm Your Angel". Dion continued releasing French albums between each English record; D'eux (1995) became the best-selling French-language album of all time, while S'il suffisait d'aimer (1998), Sans attendre (2012), and Encore un soir (2016), were all certified diamond in France. During the 2000s, she built her reputation as a highly successful live performer with A New Day... on the Las Vegas Strip (2003–07), which remains the highest-grossing concert residency of all time, as well as the Taking Chances World Tour (2008–09), one of the highest-grossing concert tours of all time. Dion is also one of the best-selling music artists of all time, with record sales of more than 200 million worldwide. Although her releases have often received mixed critical reception, Dion is regarded as one of pop music's most successful vocalists. She has won five Grammy Awards, including Album of the Year and Record of the Year. Billboard named her the "Queen of Adult Contemporary" for having the most number-one songs on the radio format for a female artist. Dion is the second best-selling female artist in the US during the Nielsen SoundScan, the 8th all-time best-performing top female artist in the United States, and the sixth all-time best-performing female soloist in Billboard 200 history. In 2003, she was honoured by the International Federation of the Phonographic Industry (IFPI) for selling over 50 million albums in Europe. In 2008, Dion was recognized as the Best-selling International Artist in South Africa. Life and career 1968–1989: Early life and career beginnings Dion was born in Charlemagne, Quebec, northeast of Montreal, the youngest of 14 children of Thérèse (née Tanguay, 1927–2020), a homemaker, and Adhémar Dion (1923–2003), a butcher, both of French-Canadian descent. She was raised a Roman Catholic in a poor but, by her own account, happy home in Charlemagne. Music had always been a major part of the Dion family, and she was named after the song "Céline", which French singer Hugues Aufray had recorded two years before her birth. On 13 August 1973, at the age of five, the young Céline made her first public appearance at her brother Michel's wedding, where she performed Christine Charbonneau's song "Du fil, des aiguilles et du coton". She continued to perform with her siblings in her parents' small piano bar called Le Vieux Baril, "The Old Barrel". From an early age, she had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, "I missed my family and my home, but I don't regret having lost my adolescence. I had one dream: I wanted to be a singer." As a child in Quebec, Dion participated in Girl Guide programs as a member of Girl Guides of Canada. At age 12, she collaborated with her mother and her brother Jacques to write and compose her first song, "Ce n'était qu'un rêve", whose title translates as "It Was Only a Dream" or "Nothing But A Dream". Her brother Michel sent the recording to music manager René Angélil, whose name he discovered on the back of a Ginette Reno album. Angélil was moved to tears by Dion's voice and decided to make her a star. In 1981, he mortgaged his home to fund her first record, La voix du bon Dieu, which later became a local No. 1 hit and made her an instant star in Quebec. Her popularity spread to other parts of the world when she competed in the 1982 Yamaha World Popular Song Festival in Tokyo, Japan, and won the musician's award for "Top Performer" as well as the gold medal for "Best Song" with "Tellement j'ai d'amour pour toi". By 1983, in addition to becoming the first Canadian artist to receive a gold record in France for the single "D'amour ou d'amitié" ("Of Love or of Friendship"), Dion had also won several Félix Awards, including "Best Female performer" and "Discovery of the Year". Further success came when she represented Switzerland in the 1988 Eurovision Song Contest with the song "Ne partez pas sans moi" and won the contest by a close margin in Dublin, Ireland. At age 18, after seeing a Michael Jackson performance, Dion told Angélil that she wanted to be a star like Jackson. Though confident in her talent, Angélil realized that her image needed to be changed for her to be marketed worldwide. She receded from the spotlight for a number of months, during which she underwent dental surgery to improve her appearance, and was sent to the École Berlitz in 1989 to polish her English. In 1989, during a concert on the Incognito tournée, she injured her voice. She consulted the otorhinolaryngologist William Gould, who gave her an ultimatum: have immediate surgery on her vocal cords or do not utilize them at all for three weeks. Dion chose the latter and underwent vocal training with William Riley. 1990–1992: Unison, Dion chante Plamondon, and Celine Dion Two years after she learned English, Dion made her debut into the Anglophone market with Unison (1990), the lead single having originally been recorded by Laura Branigan. She incorporated the help of many established musicians, including Vito Luprano and Canadian producer David Foster. The album was largely influenced by 1980s soft rock music that quickly found a niche within the adult contemporary radio format. Unison also hit the right notes with critics: Jim Faber of Entertainment Weekly wrote that her vocals were "tastefully unadorned", and that she never attempted to "bring off styles that are beyond her". Stephen Thomas Erlewine of AllMusic declared it "a fine, sophisticated American debut". Singles from the album included "(If There Was) Any Other Way", "The Last to Know", "Unison", and "Where Does My Heart Beat Now", a mid-tempo soft-rock ballad that made prominent use of the electric guitar. The latter became her first top-ten hit on the US Billboard Hot 100, peaking at number four. In 1991, Dion was a featured soloist on "Voices That Care", a tribute to American troops fighting in Operation Desert Storm. Her real international breakthrough came when she duetted with Peabo Bryson on the title track to Disney's animated film Beauty and the Beast (1991). It became her first top-ten hit in the UK and her second top-ten hit in the United States. The song earned its songwriters an Academy Award for Best Song and gave Dion her first Grammy Award for Best Pop Performance by a Duo or Group with Vocal. "Beauty and the Beast" served as the lead single from her 1992 self-titled album, which, like her debut, had a strong pop rock influence combined with elements of soul and classical music. Owing to the success of the lead-off single and her collaborations with David Foster and Diane Warren, the album was even more well-received commercially than Unison; it was certified diamond in Canada and double platinum in the US. The album's second single "If You Asked Me To" (a cover of Patti LaBelle's song from the 1989 movie Licence to Kill) became her first number-one single in Canada and peaked at number four on the US Billboard Hot 100. Also during this time, Dion released the Francophone album Dion chante Plamondon. The album consisted mostly of covers, but featured four new songs: "Des mots qui sonnent", "Je danse dans ma tête", "Quelqu'un que j'aime, quelqu'un qui m'aime", and "L'amour existe encore". It was originally released in Canada and France during the 1991–1992 period, then later received an international release in 1994, the first French Celine Dion album to do so. "Un garçon pas comme les autres (Ziggy)" became a smash hit in France, reaching No. 2 and being certified gold. In Quebec, the album was certified Gold the day it was released. By 1992, Unison, Céline Dion, and numerous high-profile media appearances had propelled Dion to superstardom in North America. She had achieved one of her main objectives: wedging her way into the Anglophone market and achieving fame. However, while she was experiencing rising success in the US, her French fans in Canada criticized her for neglecting them. She would later rebuff these criticisms at the 1991 Félix Awards show, where, after winning "English Artist of the Year", she openly refused to accept the award. She asserted that she was—and would always be—a French, not an English, artist. Apart from her commercial success, there were also changes in her personal life, as Angélil, who was 26 years her senior, transitioned from manager to lover. However, the relationship was kept a secret as they both feared that the public would find their relations inappropriate. 1993–1995: The Colour of My Love and D'eux In 1993, Dion announced her feelings for her manager by declaring him "the colour of [her] love" in the dedication section of her third English-language album The Colour of My Love. However, instead of criticizing their relationship as she had feared, fans embraced the couple. Eventually, Angélil and Dion married in an extravagant wedding ceremony on 17 December 1994, which was broadcast live on Canadian television. As with most of her catalogue, The Colour of My Love had over-riding themes of love and romance. It became her most successful record up to that point, selling more than six million copies in the US, two million in Canada, and peaking at No. 1 in many countries. The album also spawned Dion's first US, Canadian, and Australian No. 1 single "The Power of Love" (a remake of Jennifer Rush's 1985 hit), which would become her signature hit in various nations until she reached new career heights in the late 1990s. The single "When I Fall in Love", a duet with Clive Griffin, achieved moderate success on the US and Canadian charts and was nominated for two Grammy Awards, winning one. The Colour of My Love also became Dion's first major hit in Europe, particularly in the United Kingdom. Both the album and the single "Think Twice" simultaneously occupied the top of the British charts for five consecutive weeks. "Think Twice", which remained at No. 1 for seven weeks, eventually became the fourth single by a female artist to sell in excess of one million copies in the UK while the album was eventually certified five-times platinum for two million copies sold. Dion kept to her French roots and continued to release many Francophone recordings between each English record. Generally, they achieved more credibility than her English-language works. She released À l'Olympia, a live album that was recorded during one of her concerts at the Paris Olympia in 1994. It had one promotional single, a live version of "Calling You", which peaked at seventy-five on the French Singles Chart. She also recorded a bilingual version of "Petit Papa Noël" with Alvin and the Chipmunks for the 1994 holiday album A Very Merry Chipmunk. D'eux (also known as The French Album in the United States), was released in 1995, and it would go on to become the best-selling French-language album of all time. The album was mostly written and produced by Jean-Jacques Goldman, and amassed huge success with the singles "Pour que tu m'aimes encore" and "Je sais pas". "Pour que tu m'aimes encore" reached No. 1 in France and stayed at the top position for twelve weeks. It was later certified Platinum in France. The single reached the top ten in the UK and Ireland, a rare accomplishment for a French song. The second single off the album, "Je sais pas", reached No. 1 on the French Singles Chart as well and was certified Silver there. During the mid-1990s and onward, Dion's albums were generally constructed on the basis of melodramatic soft rock ballads, with sprinklings of up-tempo pop and rare forays into other genres. She collaborated with many renowned writers and producers such as Jim Steinman and David Foster, who helped her to develop a signature sound. While critical reviews fluctuated, her releases performed increasingly well on the international charts, and in 1996, she won the World Music Award for "World's Best-selling Female Recording Artist of the Year" for the third time. By the mid-1990s, she had established herself as one of the best-selling artists in the world. 1996–1999: Falling into You, Let's Talk About Love, and S'il suffisait d'aimer In the five years since her debut English language album in 1990, Billboard stated that she had already sold 40 million albums worldwide. Falling into You (1996), Dion's fourth English-language album, presented the singer at the height of her popularity and showed a further progression of her music. In an attempt to reach a wider audience, the album combined many elements, such as complex orchestral sounds, African chanting, and elaborate musical effects. Additionally, instruments like the violin, Spanish guitar, trombone, the cavaquinho, and saxophone created a new sound. The singles encompassed a variety of musical styles. The title track "Falling into You" and "River Deep – Mountain High" (a Tina Turner cover) made prominent use of percussion instruments; "It's All Coming Back to Me Now" (produced by its writer Jim Steinman) and a remake of Eric Carmen's "All by Myself" maintained a soft-rock atmosphere, combined with the classical sound of the piano; and the No. 1 single "Because You Loved Me", which was written by Diane Warren, was a pop ballad that served as the theme to the 1996 film Up Close and Personal. Falling into You garnered career-best reviews for Dion. While Dan Leroy wrote that it was not very different from her previous work, and Stephen Holden of The New York Times and Natalie Nichols of the Los Angeles Times wrote that the album was formulaic, other critics, such as Chuck Eddy of Entertainment Weekly, Stephen Thomas Erlewine of AllMusic, and Daniel Durchholz, lavished the album as "compelling", "passionate", "stylish", "elegant", and "remarkably well-crafted". Falling into You became Dion's most critically and commercially successful album: it topped the charts in many countries and became one of the best-selling albums of all time. In 2013, CBC Music ranked Falling into You 33rd in their list of the 100 greatest Canadian albums ever. In the United States, the album reached No. 1, and was later certified 11× Platinum for over 11 million copies shipped. In Canada, the album was certified diamond for over one million copies shipped. The IFPI certified Falling into You 9× Platinum, an accolade that has been given to only two other albums in history, with one of the two being Dion's own album, Let's Talk About Love. The album also won Grammy Awards for Best Pop Album and the academy's highest honour, Album of the Year. Dion was asked to perform "The Power of the Dream" at the opening ceremony of the 1996 Atlanta Olympic Games. In March 1996, she launched the Falling into You Tour in support of her new album, performing concerts around the world for over a year. She followed Falling into You with Let's Talk About Love (1997), which was publicized as its sequel. The recording process took place in London, New York City, and Los Angeles, and featured a host of special guests, such as Barbra Streisand on "Tell Him"; the Bee Gees on "Immortality"; and tenor Luciano Pavarotti on "I Hate You Then I Love You". Other musicians included Carole King, Sir George Martin, Bryan Adams and Jamaican singer Diana King, who added a reggae tinge to "Treat Her Like a Lady". Let's Talk About Love was another major success, reaching No. 1 all over the world, attaining platinum status in twenty-four sales territories, and becoming the fastest selling album of her career. In the United States, the album topped the chart in its seventh week of release, and was later certified 10× Platinum in the US for over 10 million copies shipped. In Canada, the album sold 230,212 copies in its first week of release, which remains a record. It was eventually certified diamond in Canada for over one million copies shipped. The most successful single from the album was the classically influenced ballad "My Heart Will Go On", which was written and composed by James Horner and Will Jennings, and produced by Horner and Walter Afanasieff. Serving as the love theme for the 1997 blockbuster film Titanic, the song topped the charts across the world and became Dion's signature song. Horner and Jennings won the Academy Award and Golden Globe for Best Original Song, while Dion herself garnered two Grammy Awards for Best Female Pop Vocal Performance and the most coveted, Record of the Year, (the song itself won four awards, but two were presented to the songwriters). "My Heart Will Go On" and "Think Twice" made her the only female artist in the UK to have two singles to sell more than a million copies. In support of her album, she embarked on the Let's Talk About Love Tour between 1998 and 1999. Dion ended the 1990s with three more extremely successful albums: the Christmas album These Are Special Times (1998), the French-language album, S'il suffisait d'aimer, and the compilation album All the Way... A Decade of Song (1999). On These Are Special Times, she co-wrote the song "Don't Save It All for Christmas Day" along with Ric Wake and Peter Zizzo. The album was her most classically influenced yet, with orchestral arrangements found on virtually every track. The album featured the single "I'm Your Angel" (a duet with R. Kelly), which became her fourth US No. 1 single, and a smash hit across the world. The album's second single "The Prayer" (a duet with Andrea Bocelli) served as the soundtrack of the 1998 film Quest for Camelot and won a Golden Globe Award for Best Original Song. All the Way... A Decade of Song drew together her most successful hits coupled with seven new songs, including the lead-off single "That's the Way It Is", a cover of Roberta Flack's "The First Time Ever I Saw Your Face", and "All the Way", a duet with Frank Sinatra. All the Way became one of the best-selling compilation albums of all time, reaching No. 1 in the United States for three weeks. The album was later certified 7x Platinum in the US for 7 million copies shipped. It also topped the charts in the UK, Canada, and Australia. Her last French-language studio album of the 1990s, S'il suffisait d'aimer, was very successful as well, topping the charts in every major French-speaking country, including France, Switzerland, the Wallonia region of Belgium, and Canada. In France, the album was certified diamond, selling 1.5 million copies. By the end of the 1990s, Dion had sold more than 130 million records worldwide, and had won a slew of industry awards. Her status as one of the music industry's biggest pop divas was further solidified when she was asked to perform on VH1's Divas Live special in 1998, with superstars Aretha Franklin, Gloria Estefan, Shania Twain, and Mariah Carey. That year, she also received two of the highest Canadian honours: "Officer of the Order of Canada for Outstanding Contribution to the World of Contemporary Music" and "Officer of the National Order of Quebec". A year later, she was inducted into the Canadian Broadcast Hall of Fame, and was honoured with a star on Canada's Walk of Fame. Starting from the mid-1990s, the pop rock influence that was more noticeable in her earlier releases was replaced by a more mature feel. Additionally, the recurring theme of "love" dominated most of her releases, which led to some critics dismissing her music as banal. Other critics, like Elysa Gardner and Jose F. Promis, praised her voice during this period, describing it as a "technical marvel". Steve Dollar, in his review of These Are Special Times, opined that Dion was a "vocal Olympian for whom there ain't no mountain—or scale—high enough". 2000–2003: Hiatus, A New Day Has Come, One Heart, and 1 fille & 4 types After releasing and promoting thirteen albums during the 1990s, Dion stated that she needed to settle down, and announced on her latest album All the Way... A Decade of Song, that she needed to take a step back from the spotlight and enjoy life. Angélil's diagnosis with esophageal cancer also prompted her to hiatus. While on break, she was unable to escape the spotlight. In 2000, the National Enquirer published a false story about the singer. Brandishing a picture of Dion and her husband, the magazine misquoted her, printing the headline, "Celine — 'I'm Pregnant With Twins!'" She later sued the magazine for more than $20million. The editors of the Enquirer printed an apology and a full retraction to her in the next issue, and donated money to the American Cancer Society in honour of her and her husband. A year after the incident, after undergoing fertility treatments, she gave birth to a son, René-Charles Dion Angélil, on 25 January 2001, in Florida. Following the 11 September attacks, Dion returned to the music scene, and in a televised performance sang "God Bless America" at the benefit concert America: A Tribute to Heroes. Chuck Taylor of Billboard wrote, "the performance ... brings to mind what has made her one of the celebrated vocalists of our time: the ability to render emotion that shakes the soul. Affecting, meaningful, and filled with grace, this is a musical reflection to share with all of us still searching for ways to cope." She performed it again in 2003 during pregame festivities for Super Bowl XXXVII in San Diego. In December 2001, she published her autobiography My Story, My Dream which chronicled her rags-to-riches story. Dion ended her three-year sabbatical from the music industry with the aptly titled album A New Day Has Come, released in March 2002. The album was her most personal yet, with songs focusing on her motherhood and maturation as a woman such as "A New Day Has Come", and "Goodbye's (The Saddest Word)". She stated: "becoming a mother makes you a grown-up." She stated, "A New Day Has Come, for Rene, for me, is the baby. It has everything to do with the baby ... That song "A New Day Has Come" represents very well the mood I'm feeling right now. It represents the whole album." A New Day Has Come debuted at No. 1 in more than 17 countries, including the United Kingdom and Canada. In the United States, the album debuted at No. 1 on the Billboard 200, with first-week sales of 527,000 copies; marking her first No. 1 debut on the chart, as well as the highest debut sales week of her career in the US. It was eventually certified 3× Platinum in the United States, and 6× Platinum in Canada. While the album was commercially successful, critical reviews suggested that it was "forgettable" and the lyrics were "lifeless". Both Rob Sheffield of Rolling Stone magazine, and Ken Tucker of Entertainment Weekly, stated that Dion's music had not developed much during her break, and classed her material as trite and mediocre. Sal Cinquemani of Slant Magazine called the album "a lengthy collection of drippy, gooey pop fluffer-nutter". The first single off the album, A New Day Has Come peaked at No.22 on the Billboard Hot 100 charts, being an airplay-only release. On the Hot Adult Contemporary Tracks, however, the song spent 21 consecutive weeks at No. 1, breaking the record for the longest span at the top. The previous record holders were Phil Collins' You'll Be in My Heart and Dion's own Because You Loved Me, both of which lasted nineteen weeks at No. 1. The album's next single, "I'm Alive", was featured on the soundtrack for Stuart Little 2 (2002), and was ranked number 2 on the European Hot 100 Singles, and number 6 on the Hot Adult Contemporary Tracks in the United States. During 2002, she performed for many benefit concerts, including her second appearance on VH1 Divas Live, a concert to benefit the VH1 Save The Music Foundation, alongside Cher, Anastacia, Dixie Chicks, Mary J. Blige, Whitney Houston, Cyndi Lauper, Shakira, and Stevie Nicks. In conjunction with an endorsement deal with Chrysler, she released One Heart (2003), an album that represented her appreciation for life. The album largely consisted of pop and dance music—a deviation from the soaring, melodramatic ballads, for which she had been known. Although the album achieved moderate success, One Heart was met with mixed criticism, and words such as "predictable" and "banal" appeared even in the most lenient reviews. A cover of the 1989 Cyndi Lauper hit "I Drove All Night", released to launch her advertising campaign with Chrysler, incorporated elements of dance-pop and rock and roll. The advertising deal was met with criticism, with some stating that Dion was trying to cater to her sponsors. After One Heart, she released her next English-language studio album, Miracle (2004). Miracle was a multimedia project conceived by Dion and Australian photographer Anne Geddes and had a theme centring on babies and motherhood. The album was filled with lullabies and other songs of maternal love and inspiration, including covers of Louis Armstrong's "What a Wonderful World" and John Lennon's "Beautiful Boy". The reviews for Miracle were mixed. Stephen Thomas Erlewine of Allmusic.com gave the album three of out five stars, stating, "The worst you can say about the record is that there are no surprises, but the audience for this record doesn't want surprises; they want comfort, whether it arrives in polished music or artsy photos of newborns, and Miracle provides both, which makes it appealing for those expectant or new mothers in Dion's audience." Chuck Taylor of Billboard magazine wrote that the single "Beautiful Boy" was "an unexpected gem" and called Dion "a timeless, enormously versatile artist", Chuck Arnold of People Magazine, however, labelled the album as excessively sentimental, while Nancy Miller of Entertainment Weekly opined that "the whole earth-mama act is just opportunism, reborn". Miracle debuted at No. 4 on the Billboard 200 chart and No. 1 in Canada and was eventually certified platinum by the RIAA. The francophone album 1 fille & 4 types (1 Girl & 4 Guys), released in October 2003, fared better than her previous two releases and showed her trying to distance herself from the "diva" image. She recruited Jean-Jacques Goldman, Gildas Arzel, Eric Benzi, and Jacques Veneruso, with whom she had previously worked on two of her best-selling French albums S'il suffisait d'aimer and D'eux. Labeled "the album of pleasure" by Dion herself, the album cover showed her in a simple and relaxed manner, contrary to the choreographed poses usually found on her album covers. The album achieved widespread commercial success in France, Canada, and Belgium where it reached No. 1. In France, the album debuted at No. 1 and was later certified 2× platinum after selling over 700,000 copies. Critic Stephen Erlewine of AllMusic wrote that Dion's vocals were "back at top of their game" and that she was "getting back to pop basics and performing at a level unheard in a while". Though her albums were commercially successful, they did not achieve the sales or the reception of her previous works. Her songs received less airplay as radio became less embracing of balladeers like Dion, Carey, and Houston, and was focused on more up-tempo, Urban/Hip-hop songs. By 2004, Dion had accumulated sales of more than 175 million albums worldwide and received the Chopard Diamond Award from the World Music Awards for her achievements. According to the official World Music Awards website, the award is rare; it is "not presented every year" and an artist can be presented with the award only for selling "over 100 million albums during their career". 2003–2007: A New Day... In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza, A New Day..., at The Colosseum at Caesars Palace, Las Vegas. This move was generally seen as risky, but journalist Miriam Nunzio wrote that it was "one of the smartest business decisions in years by any major recording artist". Dion conceived the show after seeing O by Franco Dragone during her break from recording, and it premiered on 25 March 2003, in a 4,000-seat arena specifically designed for her show and modelled after the Roman Colosseum. Many stars attended the opening night including Dick Clark, Alan Thicke, Kathy Griffin, Lance Bass, and Justin Timberlake, who hosted the television special. The show, directed by Dragone and choreographed by the renowned Mia Michaels, was a combination of dance, music, and visual effects. It included Dion performing her biggest hits against an array of dancers and special effects. Reviewer Mike Weatherford felt that, at first, Dion was not as relaxed as she should be, and at times, it was hard to find the singer among the excessive stage ornamentation and dancers. However, he noted that the show had become more enjoyable over the course of its run, because of her improved stage-presence and simplified costumes. The show was well-received by audiences, despite the complaints of expensive tickets; it routinely sold out until its end in late 2007. Ticket prices averaged $135.33. According to Pollstar, Dion sold 322,000 tickets and grossed US$43.9 million in the first half of 2005, and by July 2005, she had sold out 315 out of 384 shows. By the end of 2005, she grossed more than US$76 million, placing sixth on Billboard's Money Makers list for 2005. Because of the show's success, her contract was extended into 2007 for an undisclosed sum. On 5 January 2007, it was announced that the show would end on 15 December 2007, with tickets for the period after October 2007 having gone on sale from 1 March. According to Billboard, A New Day... is the most successful residency of all time, grossing over US$385 million ($ million in dollars) and drawing nearly three million people to 717 shows. The Live in Las Vegas: A New Day... DVD was released on 10 December 2007, in Europe and the following day in North America. 2007–2010: D'elles, Taking Chances, and Taking Chances Tour On 21 May 2007, Dion released the French-language album D'elles (About Them), which debuted at the top of the Canadian album charts, selling 72,200 copies in its first week. It marked her tenth No. 1 album in the SoundScan era, and her eighth to debut at the top position. In Canada, the album has been certified 2× platinum, and within the first month had already shipped half a million units worldwide. D'Elles also reached No. 1 in France and Belgium. The first single "Et s'il n'en restait qu'une (je serais celle-là)" (meaning "And If There Was Only One Woman Left (I Would Be That One)") debuted at the top of the French singles chart a month earlier. Later that same year, she released the English album Taking Chances on 12 November in Europe, and 13 November in North America. Her first English studio album since 2003's One Heart, it featured pop, R&B, and rock inspired music. For this album, she collaborated with John Shanks and ex-Evanescence guitarist Ben Moody, as well as Kristian Lundin, Peer Åström, Linda Perry, Japanese singer Yuna Ito, and R&B singer-songwriter Ne-Yo. Dion stated, "I think this album represents a positive evolution in my career ... I'm feeling strong, maybe a little gutsier than in the past, and just as passionate about music and life as I ever was." She launched her year-long worldwide Taking Chances Tour on 14 February 2008, in South Africa, performing 132 dates in stadiums and arenas across five continents. The Taking Chances Tour was a great success in the United States, reaching the No. 1 spot on the Billboard Boxscore, having sold out every concert in the US and Canada. In addition, she appeared on Idol Gives Back for a second year in a row. Dion was nominated for six Juno Awards in 2008, adding to her 53 previous nominations (an all-time record). Her nominations included Artist of the Year, Pop Album of the Year (for Taking Chances), Francophone Album of the Year (for D'elles) and Album of the Year (for both Taking Chances and D'elles). The following year, she was nominated for 3 Juno Awards including the Fan Choice Award, Song of the Year (for Taking Chances), and Music DVD of the Year (for Live in Las Vegas — A New Day...) On 22 August 2008, Dion presented a free outdoor concert, mostly in French, on the Plains of Abraham, in Québec City, Canada, for the 400th anniversary of Québec City. The celebration gathered approximately 490,000 people. The concert, called Céline sur les Plaines, was released on DVD on 11 November 2008, in Québec and was released on 20 May 2009, in France. Late October 2008 saw the worldwide release of a comprehensive English-language greatest hits album, My Love: Essential Collection. In May 2009, Dion was named the 20th best-selling artist of the decade and the second-best-selling female artist of the decade in the United States, selling an estimated 17.57 million copies of her albums there since 2000. In June 2009, Forbes reported that she earned $100 million during 2008. In December 2009, Pollstar announced that she was the best-selling solo touring act of the decade and the second-best-selling touring act of the decade, behind only the Dave Matthews Band. she grossed $522.2 million during the decade, a large portion of that sum coming from her five-year residency at Caesars Palace. On 17 February 2010, Dion released into theatres a documentary film about her Taking Chances Tour, titled, Celine: Through the Eyes of the World. The documentary shows behind-the-scenes footage of her both onstage and offstage, along with footage of her with her family as they travelled the world with her. The distributor is the Sony Pictures subsidiary, Hot Ticket. The film was later released on Blu-ray and DVD on 4 May 2010, along with the CD/DVD, Taking Chances World Tour: The Concert. At the 52nd Grammy Awards in February 2010, Dion joined Carrie Underwood, Usher, Jennifer Hudson, and Smokey Robinson to perform the song "Earth Song" during the 3-D Michael Jackson tribute. In January 2010, The Los Angeles Times presented its annual list of the top ten largest earners of the year, revealing that Dion took the top spot for the entire decade, with $US747.9 million in total revenue from 2000–2009. The largest haul came from ticket sales, totalling $522.2 million. Additionally, she was named "Artist of the Decade" in her native Canadian province of Québec, announced by the Montréal-based newspaper, Le Journal de Québec in 2009 December. A public online survey asked responders to vote for whom they believe deserved the above-mentioned accolade. Furthermore, in a May 2010 Harris Poll, Dion was named the most popular musician in the United States, ahead of U2, Elvis Presley, and The Beatles while factoring in gender, political affiliations, geographic region of residence, and income. Specifically, she was the most popular musician in the female demographic, as well as among all Democrats, those who live in the eastern United States and southern United States, and those who have incomes between US$35k and US$74.9k. In September 2010, she released the single "Voler", a duet with French singer Michel Sardou. The song was later included on Sardou's album. In addition, it was announced in October 2010 that Dion wrote and composed a new song for Canadian singer, Marc Dupré entitled "Entre deux mondes". 2011–2014: Celine, Sans attendre, and Loved Me Back to Life In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. In 2018, Billboard stated her residency Celine is the second most successful residency of all time. By the end of 2011, Dion has sold 331,000 albums (despite not releasing any studio album since 2007) and 956,000 digital tracks in the United States. For a record sixth time, she performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, she appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, she released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, she made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. She began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. In June 2013, Dion co-produced the show titled "Voices" by Véronic DiCaire at the Bally’s Hotel & Casino’s Jubilee Theatre and was presented 145 times up until 2015. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Céline une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. 2014–present: Husband's death, Encore un soir, Courage, and return to Vegas On 13 August 2014, Dion announced the indefinite postponement of all her show business activities, including her concert residency at Caesars Palace in Las Vegas, and the cancellation of her Asia Tour, because of the worsening of her husband's health after he underwent the removal of a cancerous tumor in December 2013. However, on 20 March 2015, she announced that she would be returning to The Colosseum at Caesars Palace in late August 2015. On 14 January 2016, she cancelled the rest of the January performances due to her husband's and her brother's death from cancer. Dion resumed the residency on 23 February to a sold-out crowd and rave reviews. In October 2015, Dion announced on social media that she had begun working on a new French album, posting a photo by the side of Algerian singer Zaho. Dion's French single, "Encore un soir", was released on 24 May 2016. On 20 May, she released a cover of Queen's song "The Show Must Go On", featuring Lindsey Stirling on violin. She performed "The Show Must Go On" at the 2016 Billboard Music Awards on 22 May, and received the Billboard Icon Award (presented to her by her son, René-Charles Angélil) in recognition of her career spanning over three decades. The singer's new French album, Encore un soir, was released on 26 August 2016. It features fifteen tracks performed in French and, according to the singer, has a personal choice of the songs – more uplifting lyrics were chosen. Encore un soir topped the charts in France, Canada, Belgium and Switzerland, and was certified Diamond in France, 2× Platinum in Canada and Platinum in Belgium and Switzerland. It has sold over 1.5 million copies worldwide. In 2016 and 2017, Dion toured Europe and Canada with two sold-out concert tours. On 9 September 2016, she released "Recovering", a song written for her by Pink after Dion's husband René Angélil died in January 2016. Dion also recorded "How Does a Moment Last Forever" for the Beauty and the Beast: Original Motion Picture Soundtrack, released in March 2017. Her compilation, Un peu de nous topped the chart in France in July and August 2017. On 3 May 2018, she released the single "Ashes" from the film Deadpool 2. The remix version of the song topped the US Dance Club Songs chart in July 2018. From June to August 2018, she toured the Asia-Pacific region and grossed $56.5 million from 22 shows. On 24 September 2018, she announced the end of her Las Vegas residency Celine, with the final date set for 8 June 2019. She is working on a new English album. In January 2019, she performed "A Change Is Gonna Come" at the "Aretha! A Grammy Celebration for the Queen of Soul" Franklin's tribute concert, to be broadcast in March 2019. In March 2019, she was one of 11 singers from Quebec, alongside Ginette Reno, Diane Dufresne, Isabelle Boulay, Luce Dufault, Louise Forestier, Laurence Jalbert, Catherine Major, Ariane Moffatt, Marie Denise Pelletier, and Marie-Élaine Thibert, who participated in a supergroup recording of Renée Claude's 1971 single "Tu trouveras la paix" after Claude's diagnosis with Alzheimer's disease was announced. On 3 April 2019, during a Facebook Live event, Dion announced her 2019/2020 Courage World Tour, beginning in Quebec City on 18 September 2019. She also announced a new English language album of the same name, released in November 2019. On 18 September 2019, Dion released three songs, "Lying Down", "Courage", and "Imperfections" from her upcoming album, Courage. On 26 February 2020, Dion released two songs as exclusive Spotify singles: an acoustic version of Imperfections, and a cover of Chris Isaak's Wicked Game. Isaak joined Dion and sang vocals on the track. On 10 June 2020, Dion announced that her Courage World Tour will kick off again in 2021, after the tour was postponed due to the COVID-19 pandemic. On 21 May 2021, it was announced Dion would return to Vegas, in November of the same year, for a limited-run installment of ten dates in collaboration with Resorts World Las Vegas. Billboard listed Dion as the third top paid musician of 2020 (second by female artist), with total of earnings of $17.5 million. On 15 January 2022, a statement posted to Dion's website and social media accounts announced that the U.S. and Canadian concert dates for March-April 2022 were canceled because of “severe and persistent muscle spasms” that are preventing Dion from performing onstage. Artistry Influences Dion cites idols as varied as Michael Jackson, Aretha Franklin, Charles Aznavour, Carole King, Anne Murray, Barbra Streisand, and the Bee Gees, all of whom she would eventually collaborate with. Her music has been influenced by numerous genres, including pop, rock, gospel, R&B, and soul, and her lyrics focus on themes of poverty, world hunger, and spirituality, with an emphasis on love and romance. After the birth of her first child, her work increasingly focused on maternal love. Musical style Dion has faced considerable criticism from critics, who state that her music often retreats behind pop and soul conventions, and is marked by excessive sentimentality. According to Keith Harris of Rolling Stone magazine, "[Dion's] sentimentality is bombastic and defiant rather than demure and retiring ... [she] stands at the end of the chain of drastic devolution that goes Aretha–Whitney–Mariah. Far from being an aberration, Dion actually stands as a symbol of a certain kind of pop sensibility—bigger is better, too much is never enough, and the riper the emotion the more true." Her francophone releases, by contrast, tend to be deeper and more varied than her English releases, and consequently have achieved more credibility. Critics have stated that Dion's involvement in the production aspect of her music is fundamentally lacking, which results in her work being overproduced and impersonal. However, coming from a family in which all of her siblings were musicians, she dabbled in learning how to play instruments like piano and guitar, and practised with a Fender Stratocaster during the recording sessions for her album Falling into You. Occasionally, Dion has contributed to the writing of a handful of her English and French songs, as well as writing a few songs for other artists such as Marc Dupre. Additionally, as her career progressed, she found herself taking charge in the production of her albums. On her first English album, which she recorded before she had a firm command of the English language, she expressed disapproval, which could have been avoided if she had assumed more creative input. By the time she released her second English album Celine Dion, she had assumed more control of the production and recording process, hoping to dispel earlier criticisms. She stated, "On the second album I said, 'Well, I have the choice to be afraid one more time and not be 100% happy, or not be afraid and be part of this album.' This is my album." Besides her contributions to some of her early French albums, Dion wrote a few of the songs on Let's Talk About Love (1997) and These Are Special Times (1998). She is often the subject of media ridicule and parody and is frequently impersonated on shows such as MADtv, Saturday Night Live, South Park, Royal Canadian Air Farce, and This Hour Has 22 Minutes for her strong accent and onstage gesticulations. However, she has stated that she is unaffected by the comments, and is flattered that people take the time to impersonate her. She even invited Ana Gasteyer, who parodied her on SNL, to appear onstage during one of her performances in New York City. While she is rarely politically outspoken, in 2005 following the Hurricane Katrina disaster, Dion appeared on Larry King Live and tearfully criticized the US government's slow response in aiding the victims of the hurricane: "There's people still there waiting to be rescued. To me that is not acceptable ... How can it be so easy to send planes in another country to kill everybody in a second and destroy lives. We need to serve our country." After her interview, she stated, "When I do interviews with Larry King or the big TV shows like that, they put you on the spot, which is very difficult. I do have an opinion, but I'm a singer. I'm not a politician." Voice and timbre Dion once claimed to be a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, Kent Nagano, maestro of the Munich Symphony Orchestra, remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the recording industry during the 1990s, alongside other female artists, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazine's list of "The 100 Outstanding Pop Vocalists". Dion is often compared to Houston and Carey for her vocal style, and to her idol Barbra Streisand for her voice. She is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn." Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Libération, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, she is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that she uses: the Québécois, the French, and the American. Her self-titled 1992 album was promoted with the slogan "Remember the name because you'll never forget the voice." Legacy Dion is regarded as one of pop music's most influential vocalists. She has been referred to as the "Queen of Power Ballads" by the media.. Billboard called Dion the "Queen of Pop". Her music and vocal styling, alongside that of Whitney Houston and Mariah Carey, have been said to shape how the bulk of modern female pop vocalists sing. These three artists have been widely credited with reviving the power ballad, and in doing so reshaping the adult contemporary radio format, making it one of the most popular formats of the 1990s and early 2000s. In 2002, Billboard named her as the "Best-selling contemporary female artist in history". According to producer, musician, and former American Idol judge Randy Jackson, Dion, Houston, and Carey are the voices of the modern era. Music critic and Dion biographer Carl Wilson notes that her "fame and influence is also renewed and expressed regularly these days by American Idol, the largest mass musical phenomenon of the past decade, where Celine's stood solidly in its pantheon of singers for young people to emulate". Many contestants on the countless televised talent competitions that have risen at the turn of the millennium often emulate Dion, Houston and Carey and cite them as idols. MTV also praised Dion by saying: "Céline Dion was better than almost anyone at capitalizing on pop’s ability to articulate feelings in sensational, over-the-top ways." Numerous artists have either mentioned Dion as a major influence or as one of their favourite singers including: Britney Spears, Rihanna, Adele, Josh Groban, Delta Goodrem, Leona Lewis, Jennifer Hudson, Vanessa Hudgens, Kelly Clarkson, Perrie Edwards, Loren Allred, Brazilian singer Wanessa Camargo, Ariana Grande, Sam Smith, Frank Ocean, Ava Max, Charlotte Cardin, and V (from BTS) among many others. Country singer Martina McBride is widely heralded by the press as the Celine Dion of Country music. Many artists have also praised Dion's voice, singing ability or expressed an interest in working with her including Met Opera conductor and musical director Yannick Nézet-Séguin, Beyoncé, Carlos Santana, Elton John, OneRepublic, Coldplay, Sharon Osbourne, Nicole Scherzinger, Ne-Yo, Carole King, Barbra Streisand, Luciano Pavarotti, Bee Gees, Sir George Martin, Justin Bieber, Jean-Jacques Goldman, Drake and Cher. Timbaland stated "Celine has such a beautiful, mesmerizing voice. She is so talented. I think we could create something that is a classic like she is already." Josh Groban remarked "She's a powerhouse. In this day and age, when more and more studio-produced, tiny-tiny voices are being rewarded ... she has this extraordinary instrument." According to Diane Warren, "Celine is the best singer by far of her generation", an opinion shared by Quincy Jones, Tommy Mottola, and David Foster. Moreover, Shania Twain and Jennifer Lopez have praised her dynamic stage presence, with Jennifer Lopez commenting on American Idol: "Celine gets on stage, she owns the stage, she runs all over that stage, she stops that stage." Leona Lewis is also a huge fan of Céline Dion saying "Celine is someone I aspire to be like in every way. "Gosh – I can't wait. I'm in the middle of picking out dresses at the moment. Celine is definitely one of my heroes. She is amazing." American singer and actress Lea Michelle said that she listened to Céline Dion's music while in the process of making her sophomore album 'Places' and cited her as one of her vocal influences. Godmother of Soul Patti LaBelle called Dion as one of the greatest singers ever. Pop singer Kelly Clarkson also praised Dion's vocal ability saying: "she has two sets of lungs when she sings." and also called her the most gifted vocalist on the planet. Dion holds the Guiness World Record for the most Juno Awards won for Album Of The Year (tied with Michael Buble & Arcade Fire). She won 3 out of the 13 nominations she received in the category throughout her career. Dion is the 3rd most decorated artist in Juno Awards history, winning 20 out of the 75 total nominations ever, becoming the most nominated artist in the awards history as well. In 1997-1998, Dion sold more than 60 million albums, and was estimated to sell a record once every 1.2 seconds. In 2017, Dion broke records across the UK as the highest grossing artist at each UK venue where she performed which included dates at the O2 Arena in London, Leeds First Direct Arena, Birmingham’s Barclaycard Arena and the SSE Hydro in Glasgow. John Meglen, president and co-CEO, Concerts West commended her by saying: "She really is the voice of our lifetime." In 2018, there were over 300,000 Taiwanese fans that clambered for the 20,000 tickets available for Célines first concert ever in Taiwan which caused the system to lag for 30 minutes. The demand caused them to add two additional shows eventually. Cultural impact In Francophone music industry On a cultural level, Dion is credited for introducing francophone music to many non-francophone countries around the globe. Her albums D'eux and S'il suffisait d'aimer remain the best selling francophone albums in history, gaining unprecedented success in non-Francophone markets such as the United Kingdom, Poland, Netherlands, Portugal, Greece, Austria, Japan, and New Zealand. According to RFI Musique, she "has done her bit for French music over the years, assuring the success of French songs which would probably never have got beyond Francophone borders without her ... Without Celine, French record sales would be dramatically lower!" In May 2008, she was awarded France's highest award, as Knight of the Legion of Honour by President of France Nicolas Sarkozy. Sarkozy praised Dion and stated: "France thanks you because your talent and success have contributed to the influence of the French language outside our borders". In Las Vegas strip She is also credited for both revitalizing and revolutionizing the entertainment scene in Las Vegas with the gargantuan successes of her residencies there. She signed a multi-million dollar deal worthed $100 million to do a residency in Vegas and is considered one of the most lucrative and risky in the touring industry. Billboard credits Dion as the one who pioneered modern residencies saying: "Since Dion's debut, hundreds of artists have tried their hand at Vegas residencies, including, most recently, Lady Gaga, Bruno Mars, Usher, Luke Bryan, Katy Perry, Rod Stewart and Sting. Once considered the domain of artists long past their peak, today's Las Vegas residency shows are big business, generating millions in sales." Moreover, Billboard also said: "She changed history and she completely changed Las Vegas," said Nelson, who notes the new residencies being announced for artists like Cardi B, Christina Aguilera and Jennifer Lopez aren't really at the same production level or scale of what Dion created with her husband René Angélil, as well as Meglen, Nelson and former AEG CEO Tim Leiweke." Dion is popularly referred as the reigning "Queen of Las Vegas" by various media outlets for her impact and legacy in the city. According to Gary Bongiovanni, president and editor-in-chief of Pollstar, "Celine redefined what artists can do in Las Vegas, helping to make it arguably the busiest entertainment city in the world." Kurt Melien, vice-president of entertainment at Caesar's Palace stated "Celine was a pioneer without question ... Twenty years ago, we couldn't have got someone the stature of Britney Spears to appear in Vegas. Stars likes her would never have considered it if Celine hadn't paved the way. She changed the face of modern Vegas." The Guardian listed Dion's Vegas residency as one of the 50 gigs that changed music, crediting her as the one who revived it, further saying: "it was Céline Dion who turned Caesars into the stage for a glorious pop comeback. Her initial five-year run was followed by a further eight years – and prompted copycat turns by Britney Spears, Pink and Katy Perry. In the economy Regarding her financial impact on Las Vegas, Stephen Brown, director of the Centre for Business and Economic Research in Las Vegas, commented: "People will come to the city just for her and they will spend money and as a consequence, she has an outsized impact on the economy", then adding "Bigger than Elvis, Sinatra and Liberace put together? Definitely." Estimations indicate that Dion's show will create up to 7,000 indirect jobs and around $114 million worth of new economic activity in each of the three years for which she has been contracted. In businesses Forbes also discussed how entrepreneurs can reclaim the power in their business by being like Céline Dion as an example saying: "Well, remember back in 2017 when Dion launched her handbag line? During a press conference, she admitted her late manager (and husband) had always handled everything for her. Every aspect of her shows was pre-decided; every move, appearance and interview was programmed in advance. She just showed up and executed (which she did brilliantly). At the end of her handbag launch press release, she said "Now . . . I'm the boss.” Starting right then and there, she’d be the one calling the shots for her shows, her kids, her handbags and everything else that mattered to her. She was going to do things her way." In Fashion Celine Dion has received various acclaims from fashion critics for reinventing her fashion style over the years. The Guardian called her "The Joyous New Queen of Fashion". Harper's Bazaar also praised Dion for being an ultimate fashion risk-taker and called her a "Fashion Chameleon". Billboard dubbed her as "Streetwear Icon" after recapping the global icon's style evolution through the years. Vogue named her as one of music's most exuberant dressers, beloved as much for her glorious voice as her extravagant sense of style. Tatler discussed in an article how Cardi B might be the next Céline Dion of Paris Fashion Week, proving that Céline is the standard for the occasion. Fashion stylist and image architect Law Roach praised Celine Dion, calling her "The Queen of Camp" & "The Queen of Glitter & Sequins". Dion further cemented her name in the fashion world by wearing the reverse tuxedo at 1999 Academy Awards, which became one of the most talked ensembles of that time. Vogue also listed her iconic 1999 reverse tuxedo as one of the most controversial looks of all time saying it was undeniably the highlight of the year. W also listed the iconic ensemble as one of the most memorable dresses of all time. In February 2020, Sergio Guadarrama, a contestant of Project Runway, copied the idea of reverse tuxedo and claimed it was his original idea and had even claimed that he had no idea about the iconic tuxedo, which left the fans of the show disappointed. Breaking music barriers Vice discussed how Dion's music made impact in Nigerian culture, saying: "By the 2000s, Celine Dion was basically the queen of Nigerian airwaves. It was impossible to watch TV or listen to the radio without hearing her music – either on adverts, or in Nollywood films featuring heartthrobs like Genevieve Nnaji and Ramsey Nouah." Billboard also discussed how Dion’s appearance at Jamaica Jazz & Blues changed the festival’s future. According to Walter Elmore, CEO of Art of Music Productions said Dion is by far the most expensive artist he has ever booked, further saying: “I have already received calls from the management of several major US artists who want to perform here next year because they heard Celine’s comments about our show’s production quality,” Elmore said. “Her performance confirms that we can bring the biggest artists on the planet to our little island.” In 2012, Dion visited Jamaica for the very first time which broke attendance records and caused traffic congestion around the concert venue. Vice discussed how Dion's music has been constant in dancehall clubs for decades, as many Jamaican dancehall artists cover her songs and remixing her ballads into anthems of dance hall. Further adding: "Several current dancehall musicians continue to use utilize Dion’s tunes with the addition of upbeat guitars, pan flutes, and backbeat shuffles that transform the music for consumption by dancehall fans." Being referenced in songs The Canadian comedy music group The Arrogant Worms released an album called Dirt in 1999 which contained a song called "Celine Dion", about the singers' stalker-like affection for her. Dion has also been referred/mentioned in various hit songs including "Dark Fantasy" by Kanye West, "911/Mr. Lonely" by Tyler, the Creator, "That Girl" by Pharrell Williams, "Work" by A$AP Ferg, and "What's The Use" by Mac Miller, to name a few. Cultural honors In 1999, Dion received a star on Canada's Walk of Fame and was inducted into the Canadian Broadcast Hall of Fame. She received a star on the Hollywood Walk of Fame in January 2004, one which she dedicated to her father, who had died the month prior. In May 2003, she placed at No. 10 on VH1's list of "50 Greatest Women of the Video Era". Dion's album Falling into You is included on the Rock and Roll Hall of Fame's Definitive 200 list. "My Heart Will Go On" was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts. In 2021, Dion was ranked by Forbes as the third richest woman in entertainment with an estimated net worth of US$460 million. In August 2008, she received an honorary doctorate in music from the Université Laval in Quebec City. In October 2010, Dion was named a Goodwill Ambassador, a program created by the UN in 1999, sharing this accolade with Oscar-winner Susan Sarandon. She also received several state decorations. In 2004, she was awarded the Society of Singers Lifetime Achievement Award. On 26 July 2013, she was awarded the highest rank of the Order of Canada, the Companion of the Order of Canada, by the Governor General of Canada and the investiture ceremony was held at Citadelle of Quebec, in which they said: "An incomparable artist, she is equally known for her compassion, generosity and commitment to a number of social and humanitarian causes. She is notably the national celebrity patron for Cystic Fibrosis Canada and honorary patron of the CHU Sainte-Justine. In addition, through her foundation, she also helps children in need and their families here in Canada and abroad." By the end of 1998, Dion was recognized by Billboard as the "Woman of the Year". They also stated how Céline's voice was featured in eight charting albums on Billboard 200 year-end chart which sold 18 million units during a calendar year (excluding her own catalog sales and recent releases at that time). West University of Timișoara conducted a research study that analyzes Céline Dion's contributions to global music culture in both spatial and temporal terms, In November 2013, Dion was inducted at the American Gaming Association Hall Of Fame for her outstanding contributions to the growth and stature of the gaming industry. In popular culture Dion was referenced as an antagonist character named "Feline Dion" from the hit animated series Totally Spies! which was aired in an episode in 2013. In 2021, French actress and filmmaker Valérie Lemercier released Aline, a film which fictionalized Dion's life with Lemercier playing a singer named "Aline Dieu". Other activities Business endeavours Les Productions Feeling Inc., also known as Feeling Inc. or just Feeling, is an artist management company based in Laval, Québec, Canada, and owned by Dion and her husband and manager, Rene Angélil. She is also founder of Nickels Restaurant food chain. She and her husband also own Le Mirage Golf Club and Schwartz's Restaurant. In association with Andre Agassi, Steffi Graf and Shaquille O'Neal, she opened a popular night club called Pure, located at Caesars Palace. Dion became an entrepreneur with the establishment of her franchise restaurant Nickels in 1990. She has since divested her interests in the chain and is no longer affiliated with Nickels, as of 1997. In 2003, Dion signed a deal with Coty, Inc. to release Celine Dion Parfums. Her latest fragrance, Signature, was released in September 2011 with an advertising campaign by New York agency Kraftworks NYC. Since its inception, Celine Dion Parfums has grossed over $850 million in retail sales. In October 2004, Air Canada hired Dion as part of their promotional campaign to unveil new service products and an updated livery. "You and I", the theme song sung by Dion, was written by advertising executives working for Air Canada. Dion also launched an eponymous bag and accessories line "Céline Dion Collection". According to Innee-Sedona International, the Asia partner for Bugatti Group said that it already topped $10 million sales after just three collections. Philanthropy Dion has actively supported many charity organizations, worldwide. She has promoted the Canadian Cystic Fibrosis Foundation (CCFF) since 1982, and became the foundation's National Celebrity Patron in 1993. She has an emotional attachment to the foundation; her niece Karine succumbed to the disease at the age of sixteen, in Dion's arms. In 2003, she joined a number of other celebrities, athletes, and politicians, including Josh Groban and Yolanda Adams to support "World Children's Day", a global fundraising effort sponsored by McDonald's. The effort raised money from more than 100 nations and benefited orphanages and children's health organizations. In addition, she has been a major supporter of the T. J. Martell Foundation, the Diana Princess of Wales Memorial Fund, and many health and educational campaigns. During the aftermath of Hurricane Katrina, she donated $1 million to the victims of the storm, and held a fund-raising event for the victims of the 2004 Asian tsunami, which subsequently raised more than $1 million. After the 2008 Sichuan earthquake, she donated $100,000 to China Children & Teenagers' Fund and sent a letter showing her consolation and support. Since 2004, she is involved, alongside husband René Angelil, with the Québec gay community by supporting the publication of health and HIV prevention materials in Gay Globe Magazine, owned by journalist Roger-Luc Chayer. She is also a member of Canadian charity Artists Against Racism. In November 2018, she launched a gender-neutral clothing line for kids, Celinununu. In 2009, Dion joined an effort along with Leonardo DiCaprio, James Cameron and Kate Winslet, to donate money to support the nursing home fees of the then-last living survivor of the sinking of the Titanic, Millvina Dean. The campaign resulted in $30,000 as donation. Personal life As the youngest of 14 children, Dion grew up wearing hand-me-downs and sharing a bed with several sisters. As a baby, she slept in a drawer to save on a crib. She was bullied at school and called "Vampire", owing to her teeth and skinny frame. Local tabloids even dubbed her "Canine Dion" in the teenage years of her career. She often spoke of running home from school to play music in the basement with her brothers and sisters. "I detested school", she would later write in her autobiography. "I had always lived surrounded by adults and children a lot older than me. I learned everything I needed to know from them. As far as I was concerned, real life existed around them." Dion's eldest sister was already in her twenties, married, and pregnant with her first child at the time Dion's mother, Thérèse, was pregnant with Celine. Dion first met René Angélil, her future husband and manager, in 1980, when she was 12 and he was 38, after her brother, Michel Dondalinger Dion, had sent him a demonstration recording of "Ce n'était qu'un rêve" ("It Was Only a Dream/Nothing But A Dream"), a song she, her mother Thérèse, and her brother Jacques Dion had jointly written. Over subsequent years, Angélil guided her to stardom in francophone territories. After the dissolution of Angélil's second marriage, he and Dion took a professional break and he spent the major part of the year in Las Vegas, while Dion was learning English and taking dance and vocal lessons in Montreal. Upon his return, "he avoided being alone with me for too long a time", she said in her 2000 autobiography My Story, My Dream. Meanwhile, she kept a photo of Angélil under her pillow, writing, "Before I fell asleep, I slipped it under the pillow, out of fear that my mother, who always shared a room with me, would find it." She also wrote "Less and less could I hide from myself the fact that I was in love with Rene; I had all the symptoms," and "I was in love with a man I couldn't love, who didn't want me to love him, who didn't want to love me." Dion's mother, who traveled everywhere with the singer until she was 19, was initially wary of her daughter's growing infatuation with a much older and twice-divorced Angélil, but Dion was insistent, telling her mother "I'm not a minor. This is a free country. No one has the right to prevent me from loving whoever I want to." Their professional relationship eventually turned romantic after Dion's win at the Eurovision Song Contest in Dublin in 1988; she was 20. The romance was known to only family and friends for five years, though Dion nearly revealed all in a tearful 1992 interview with journalist Lise Payette. Many years later, Payette penned the song "Je cherche l'ombre" for Dion's 2007 album D'elles. Dion and Angélil became engaged in 1993, on Dion's 25th birthday, and made their relationship public in the liner notes of her 1993 album The Colour of My Love. They married on 17 December 1994, at Notre-Dame Basilica in Montreal, Quebec. On 5 January 2000, Dion and Angélil renewed their wedding vows in Las Vegas. In May 2000, Dion had two small operations at a fertility clinic in New York to improve her chances of conceiving, after deciding to use in vitro fertilization because of years of failed attempts to conceive. Their first son, René-Charles Angélil, was born on 25 January 2001. Dion suffered a miscarriage in 2009. In May 2010, Angélil announced that she was 14 weeks pregnant with twins after a sixth treatment of in vitro fertilization. On Saturday, 23 October 2010, at 11:11 and 11:12 am respectively, Dion gave birth to fraternal twins by Caesarean section at St. Mary's Medical Center in West Palm Beach, Florida, The twins were named Eddy, after Dion's favourite French songwriter, Eddy Marnay, who had also produced her first five albums; and Nelson, after former South African President Nelson Mandela. She appeared with her newborn sons on the cover of 9 December 2010 issue of the Canadian edition of Hello! magazine. On 14 January 2016, Angélil died of throat cancer. His funeral was held on 22 January 2016, in Notre-Dame Basilica in Montreal, where he and Dion wed 21 years earlier. The couple's eldest son, René-Charles, gave the eulogy just three days before his 15th birthday. Following Angélil's death, Dion became the sole owner and president of her management and production companies, including CDA Productions and Les Productions Feeling. Two days after Angélil's deathon what would have been her husband's birthdayDion's brother, Daniel, died aged 59, also of cancer. On 22 March 2018, Dion's management team announced that she had been dealing with hearing irregularities for the previous 12–18 months due to patulous Eustachian tube and would undergo a minimally invasive surgical procedure to correct the problem after ear-drop medications appeared to be no longer working. Owing to her slight frame, Dion has for decades been subject of eating disorder rumors, which she has consistently denied: "I don't have an eating problem, and there's nothing more I can say about it". "My work requires me to be in great physical shape. I wouldn't have been able to live up to a hundred shows a year and travel ceaselessly from one end of the world to the other if I had eaten too much or not enough, or if, as certain magazines have claimed, I made myself throw up after each meal." She has often spoken about having been bullied at school and lacking confidence in her early years in the business: "I didn't have, visually, what it took. I was not pretty, I had teeth problems, and I was very skinny. I didn't fit the mold". Dion took up ballet under the guidance of her former dancer, Naomi Stikeman, who also previously performed for The National Ballet of Canada and La La La Human Steps, and former Cirque du Soleil dancer-turned-fashion-illustrator, Pepe Muñoz, who is also part of her styling team. She is also a skier and a regular at her son René-Charles' hockey games. Dion resides in Henderson, Nevada, in a house she bought with her husband in 2003. She previously owned homes in Montreal, Quebec, and Jupiter Island, Florida. Dion's older son René-Charles Angélil loves music and has tried to follow a musical path. Under the stage name Big Tip, he released in May 2018 on his SoundCloud account 6 rap songs including originals "The Kid", "The Apple" and "Never Stop" and two adaptations from The Weeknd songs, "Catwalks" sampling on The Weeknd's "Sidewalks" and a remix of The Weeknd's "Loft Music" as "Loft Music Remix". He also released the 5-track EP CasiNo. 5 in December 2020 using the artistic name RC Angelil. The EP includes the tracks "Mamba Mentality", "Money, Thrills and Rest", "No Ls", "GG4" (featuring PAKKA) and "LV". Discography French-language studio albums La voix du bon Dieu (1981) Céline Dion chante Noël (1981) Tellement j'ai d'amour... (1982) Les chemins de ma maison (1983) Chants et contes de Noël (1983) Mélanie (1984) C'est pour toi (1985) Incognito (1987) Dion chante Plamondon (1991) D'eux (1995) S'il suffisait d'aimer (1998) 1 fille & 4 types (2003) D'elles (2007) Sans attendre (2012) Encore un soir (2016) English-language studio albums Unison (1990) Celine Dion (1992) The Colour of My Love (1993) Falling into You (1996) Let's Talk About Love (1997) These Are Special Times (1998) A New Day Has Come (2002) One Heart (2003) Miracle (2004) Taking Chances (2007) Loved Me Back to Life (2013) Courage (2019) Concert tours and residencies Tours Les chemins de ma maison (1983–1984) Céline Dion en concert (1985) Tournée Incognito (1988) Unison Tour (1990–1991) Celine Dion in Concert (1992–1993) The Colour of My Love Tour (1994–1995) D'eux Tour (1995–1996) Falling into You: Around the World (1996–1997) Let's Talk About Love World Tour (1998–1999) Taking Chances World Tour (2008–2009) Tournée Européenne 2013 Summer Tour 2016 Celine Dion Live 2017 Celine Dion Live 2018 Courage World Tour (2019–2023) Residencies A New Day... (2003–2007) Celine (2011–2019) Celine (2022) Filmography Touched by an Angel The Nanny All My Children La fureur de Céline Des fleurs sur la neige Quest for Camelot as Juliana (singing voice) Céline sur les Plaines Celine: Through the Eyes of the World Sur la piste du Marsupilami Hell's Kitchen Muppets Most Wanted References Bibliography Céline Dion. Artist direct. Retrieved on 18 December 2005. "Celine Dion". Contemporary Musicians, Volume 25. Gale Group, 1999. "Celine Dion". Newsmakers 1995, Issue 4. Gale Research, 1995. Céline Dion. Rock on the Net. Retrieved 20 November 2005. Céline Dion. The Canadian Encyclopedia. Retrieved 2 July 2006 Céline Dion provided by VH1.com Retrieved 16 August 2005. Dion extends long Las Vegas stint. news.bbc.co.uk. Retrieved 5 November 2005. Durchholz, Daniel. Review: One Heart. St. Louis Post-Dispatch. St. Louis, Mo.: 24 April 2003. p. F.3 The 100 Outstanding Pop Vocalist covemagazine.com Retrieved 1 November 2005. Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties () World Music Awards Diamond Award Retrieved 1 November 2005, (Search by year required) Further reading External links CelineDion.com – Official website operated by Sony Music Canada (English, French). [ Celine Dion] at AllMusic [ Celine Dion] at Billboard.com 1968 births Living people 20th-century Canadian composers 20th-century Canadian women singers 20th-century women composers 21st-century Canadian composers 21st-century Canadian women singers 21st-century women composers 550 Music artists Ballad musicians Businesspeople from Florida Businesspeople from Quebec Canadian businesspeople in retailing Canadian child singers Canadian contemporary R&B singers Canadian dance musicians Canadian expatriate musicians in the United States Canadian women pop singers Canadian women rock singers Canadian women singers Canadian pop pianists Canadian restaurateurs Canadian Roman Catholics Canadian soft rock musicians Canadian sopranos Canadian soul singers Canadian voice actresses Canadian women in business Canadian women philanthropists Canadian women pianists Chevaliers of the Légion d'honneur Chevaliers of the Ordre des Arts et des Lettres Columbia Records artists Companions of the Order of Canada Epic Records artists Eurovision Song Contest entrants for Switzerland Eurovision Song Contest entrants of 1988 Eurovision Song Contest winners FAO Goodwill ambassadors Félix Award winners French-language singers of Canada French Quebecers Grammy Award winners Ivor Novello Award winners Juno Award for Album of the Year winners Juno Award for Artist of the Year winners Juno Award for Dance Recording of the Year winners Juno Award for Francophone Album of the Year winners Juno Award for International Album of the Year winners Juno Award for Single of the Year winners Juno International Achievement Award winners Las Vegas shows Musicians from Las Vegas Officers of the National Order of Quebec People from Charlemagne, Quebec People from Henderson, Nevada People from Jupiter Island, Florida Philanthropists from Florida Philanthropists from Nevada Philanthropists from Quebec Pop rock singers Singers from Quebec Singers with a three-octave vocal range Spanish-language singers of Canada Women restaurateurs World Music Awards winners

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Are any of these songs number 1 hits?

Are the songs Sans attendre or Loved Me Back to Life by Celine Dion number 1 hits?

Celine Dion

In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. Additionally, for a record sixth time, Dion performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, Dion appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, Dion released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, Dion made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. Dion began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. The music video for "Incredible" was uploaded onto Dion's official Vevo channel in early June 2014. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Celine une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. CANNOTANSWER

was a smash success in all French-speaking territories, especially in France where it achieved diamond status.

Céline Marie Claudette Dion (; born 30 March 1968) is a Canadian singer. She is noted for her powerful and technically skilled vocals. Dion is the best-selling Canadian recording artist, and the best-selling French language artist of all time. Her music has incorporated genres such as pop, rock, R&B, gospel, and classical music. Born into a large family from Charlemagne, Quebec, she emerged as a teen star in her home country with a series of French-language albums during the 1980s. She first gained international recognition by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest, where she represented Switzerland. After learning to speak English, she signed on to Epic Records in the United States. In 1990, Dion released her debut English-language album, Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. Her recordings since have been mainly in English and French although she has also sung in Spanish, Italian, German, Latin, Japanese, and Chinese. During the 1990s, she achieved worldwide fame after releasing several best-selling English-language albums in music history, such as Falling into You (1996) and Let's Talk About Love (1997), which were both certified diamond in the US and over 30 million sales worldwide each. She also scored a series of international number-one hits, including "The Power of Love", "Think Twice", "Because You Loved Me", "It's All Coming Back to Me Now", "My Heart Will Go On", and "I'm Your Angel". Dion continued releasing French albums between each English record; D'eux (1995) became the best-selling French-language album of all time, while S'il suffisait d'aimer (1998), Sans attendre (2012), and Encore un soir (2016), were all certified diamond in France. During the 2000s, she built her reputation as a highly successful live performer with A New Day... on the Las Vegas Strip (2003–07), which remains the highest-grossing concert residency of all time, as well as the Taking Chances World Tour (2008–09), one of the highest-grossing concert tours of all time. Dion is also one of the best-selling music artists of all time, with record sales of more than 200 million worldwide. Although her releases have often received mixed critical reception, Dion is regarded as one of pop music's most successful vocalists. She has won five Grammy Awards, including Album of the Year and Record of the Year. Billboard named her the "Queen of Adult Contemporary" for having the most number-one songs on the radio format for a female artist. Dion is the second best-selling female artist in the US during the Nielsen SoundScan, the 8th all-time best-performing top female artist in the United States, and the sixth all-time best-performing female soloist in Billboard 200 history. In 2003, she was honoured by the International Federation of the Phonographic Industry (IFPI) for selling over 50 million albums in Europe. In 2008, Dion was recognized as the Best-selling International Artist in South Africa. Life and career 1968–1989: Early life and career beginnings Dion was born in Charlemagne, Quebec, northeast of Montreal, the youngest of 14 children of Thérèse (née Tanguay, 1927–2020), a homemaker, and Adhémar Dion (1923–2003), a butcher, both of French-Canadian descent. She was raised a Roman Catholic in a poor but, by her own account, happy home in Charlemagne. Music had always been a major part of the Dion family, and she was named after the song "Céline", which French singer Hugues Aufray had recorded two years before her birth. On 13 August 1973, at the age of five, the young Céline made her first public appearance at her brother Michel's wedding, where she performed Christine Charbonneau's song "Du fil, des aiguilles et du coton". She continued to perform with her siblings in her parents' small piano bar called Le Vieux Baril, "The Old Barrel". From an early age, she had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, "I missed my family and my home, but I don't regret having lost my adolescence. I had one dream: I wanted to be a singer." As a child in Quebec, Dion participated in Girl Guide programs as a member of Girl Guides of Canada. At age 12, she collaborated with her mother and her brother Jacques to write and compose her first song, "Ce n'était qu'un rêve", whose title translates as "It Was Only a Dream" or "Nothing But A Dream". Her brother Michel sent the recording to music manager René Angélil, whose name he discovered on the back of a Ginette Reno album. Angélil was moved to tears by Dion's voice and decided to make her a star. In 1981, he mortgaged his home to fund her first record, La voix du bon Dieu, which later became a local No. 1 hit and made her an instant star in Quebec. Her popularity spread to other parts of the world when she competed in the 1982 Yamaha World Popular Song Festival in Tokyo, Japan, and won the musician's award for "Top Performer" as well as the gold medal for "Best Song" with "Tellement j'ai d'amour pour toi". By 1983, in addition to becoming the first Canadian artist to receive a gold record in France for the single "D'amour ou d'amitié" ("Of Love or of Friendship"), Dion had also won several Félix Awards, including "Best Female performer" and "Discovery of the Year". Further success came when she represented Switzerland in the 1988 Eurovision Song Contest with the song "Ne partez pas sans moi" and won the contest by a close margin in Dublin, Ireland. At age 18, after seeing a Michael Jackson performance, Dion told Angélil that she wanted to be a star like Jackson. Though confident in her talent, Angélil realized that her image needed to be changed for her to be marketed worldwide. She receded from the spotlight for a number of months, during which she underwent dental surgery to improve her appearance, and was sent to the École Berlitz in 1989 to polish her English. In 1989, during a concert on the Incognito tournée, she injured her voice. She consulted the otorhinolaryngologist William Gould, who gave her an ultimatum: have immediate surgery on her vocal cords or do not utilize them at all for three weeks. Dion chose the latter and underwent vocal training with William Riley. 1990–1992: Unison, Dion chante Plamondon, and Celine Dion Two years after she learned English, Dion made her debut into the Anglophone market with Unison (1990), the lead single having originally been recorded by Laura Branigan. She incorporated the help of many established musicians, including Vito Luprano and Canadian producer David Foster. The album was largely influenced by 1980s soft rock music that quickly found a niche within the adult contemporary radio format. Unison also hit the right notes with critics: Jim Faber of Entertainment Weekly wrote that her vocals were "tastefully unadorned", and that she never attempted to "bring off styles that are beyond her". Stephen Thomas Erlewine of AllMusic declared it "a fine, sophisticated American debut". Singles from the album included "(If There Was) Any Other Way", "The Last to Know", "Unison", and "Where Does My Heart Beat Now", a mid-tempo soft-rock ballad that made prominent use of the electric guitar. The latter became her first top-ten hit on the US Billboard Hot 100, peaking at number four. In 1991, Dion was a featured soloist on "Voices That Care", a tribute to American troops fighting in Operation Desert Storm. Her real international breakthrough came when she duetted with Peabo Bryson on the title track to Disney's animated film Beauty and the Beast (1991). It became her first top-ten hit in the UK and her second top-ten hit in the United States. The song earned its songwriters an Academy Award for Best Song and gave Dion her first Grammy Award for Best Pop Performance by a Duo or Group with Vocal. "Beauty and the Beast" served as the lead single from her 1992 self-titled album, which, like her debut, had a strong pop rock influence combined with elements of soul and classical music. Owing to the success of the lead-off single and her collaborations with David Foster and Diane Warren, the album was even more well-received commercially than Unison; it was certified diamond in Canada and double platinum in the US. The album's second single "If You Asked Me To" (a cover of Patti LaBelle's song from the 1989 movie Licence to Kill) became her first number-one single in Canada and peaked at number four on the US Billboard Hot 100. Also during this time, Dion released the Francophone album Dion chante Plamondon. The album consisted mostly of covers, but featured four new songs: "Des mots qui sonnent", "Je danse dans ma tête", "Quelqu'un que j'aime, quelqu'un qui m'aime", and "L'amour existe encore". It was originally released in Canada and France during the 1991–1992 period, then later received an international release in 1994, the first French Celine Dion album to do so. "Un garçon pas comme les autres (Ziggy)" became a smash hit in France, reaching No. 2 and being certified gold. In Quebec, the album was certified Gold the day it was released. By 1992, Unison, Céline Dion, and numerous high-profile media appearances had propelled Dion to superstardom in North America. She had achieved one of her main objectives: wedging her way into the Anglophone market and achieving fame. However, while she was experiencing rising success in the US, her French fans in Canada criticized her for neglecting them. She would later rebuff these criticisms at the 1991 Félix Awards show, where, after winning "English Artist of the Year", she openly refused to accept the award. She asserted that she was—and would always be—a French, not an English, artist. Apart from her commercial success, there were also changes in her personal life, as Angélil, who was 26 years her senior, transitioned from manager to lover. However, the relationship was kept a secret as they both feared that the public would find their relations inappropriate. 1993–1995: The Colour of My Love and D'eux In 1993, Dion announced her feelings for her manager by declaring him "the colour of [her] love" in the dedication section of her third English-language album The Colour of My Love. However, instead of criticizing their relationship as she had feared, fans embraced the couple. Eventually, Angélil and Dion married in an extravagant wedding ceremony on 17 December 1994, which was broadcast live on Canadian television. As with most of her catalogue, The Colour of My Love had over-riding themes of love and romance. It became her most successful record up to that point, selling more than six million copies in the US, two million in Canada, and peaking at No. 1 in many countries. The album also spawned Dion's first US, Canadian, and Australian No. 1 single "The Power of Love" (a remake of Jennifer Rush's 1985 hit), which would become her signature hit in various nations until she reached new career heights in the late 1990s. The single "When I Fall in Love", a duet with Clive Griffin, achieved moderate success on the US and Canadian charts and was nominated for two Grammy Awards, winning one. The Colour of My Love also became Dion's first major hit in Europe, particularly in the United Kingdom. Both the album and the single "Think Twice" simultaneously occupied the top of the British charts for five consecutive weeks. "Think Twice", which remained at No. 1 for seven weeks, eventually became the fourth single by a female artist to sell in excess of one million copies in the UK while the album was eventually certified five-times platinum for two million copies sold. Dion kept to her French roots and continued to release many Francophone recordings between each English record. Generally, they achieved more credibility than her English-language works. She released À l'Olympia, a live album that was recorded during one of her concerts at the Paris Olympia in 1994. It had one promotional single, a live version of "Calling You", which peaked at seventy-five on the French Singles Chart. She also recorded a bilingual version of "Petit Papa Noël" with Alvin and the Chipmunks for the 1994 holiday album A Very Merry Chipmunk. D'eux (also known as The French Album in the United States), was released in 1995, and it would go on to become the best-selling French-language album of all time. The album was mostly written and produced by Jean-Jacques Goldman, and amassed huge success with the singles "Pour que tu m'aimes encore" and "Je sais pas". "Pour que tu m'aimes encore" reached No. 1 in France and stayed at the top position for twelve weeks. It was later certified Platinum in France. The single reached the top ten in the UK and Ireland, a rare accomplishment for a French song. The second single off the album, "Je sais pas", reached No. 1 on the French Singles Chart as well and was certified Silver there. During the mid-1990s and onward, Dion's albums were generally constructed on the basis of melodramatic soft rock ballads, with sprinklings of up-tempo pop and rare forays into other genres. She collaborated with many renowned writers and producers such as Jim Steinman and David Foster, who helped her to develop a signature sound. While critical reviews fluctuated, her releases performed increasingly well on the international charts, and in 1996, she won the World Music Award for "World's Best-selling Female Recording Artist of the Year" for the third time. By the mid-1990s, she had established herself as one of the best-selling artists in the world. 1996–1999: Falling into You, Let's Talk About Love, and S'il suffisait d'aimer In the five years since her debut English language album in 1990, Billboard stated that she had already sold 40 million albums worldwide. Falling into You (1996), Dion's fourth English-language album, presented the singer at the height of her popularity and showed a further progression of her music. In an attempt to reach a wider audience, the album combined many elements, such as complex orchestral sounds, African chanting, and elaborate musical effects. Additionally, instruments like the violin, Spanish guitar, trombone, the cavaquinho, and saxophone created a new sound. The singles encompassed a variety of musical styles. The title track "Falling into You" and "River Deep – Mountain High" (a Tina Turner cover) made prominent use of percussion instruments; "It's All Coming Back to Me Now" (produced by its writer Jim Steinman) and a remake of Eric Carmen's "All by Myself" maintained a soft-rock atmosphere, combined with the classical sound of the piano; and the No. 1 single "Because You Loved Me", which was written by Diane Warren, was a pop ballad that served as the theme to the 1996 film Up Close and Personal. Falling into You garnered career-best reviews for Dion. While Dan Leroy wrote that it was not very different from her previous work, and Stephen Holden of The New York Times and Natalie Nichols of the Los Angeles Times wrote that the album was formulaic, other critics, such as Chuck Eddy of Entertainment Weekly, Stephen Thomas Erlewine of AllMusic, and Daniel Durchholz, lavished the album as "compelling", "passionate", "stylish", "elegant", and "remarkably well-crafted". Falling into You became Dion's most critically and commercially successful album: it topped the charts in many countries and became one of the best-selling albums of all time. In 2013, CBC Music ranked Falling into You 33rd in their list of the 100 greatest Canadian albums ever. In the United States, the album reached No. 1, and was later certified 11× Platinum for over 11 million copies shipped. In Canada, the album was certified diamond for over one million copies shipped. The IFPI certified Falling into You 9× Platinum, an accolade that has been given to only two other albums in history, with one of the two being Dion's own album, Let's Talk About Love. The album also won Grammy Awards for Best Pop Album and the academy's highest honour, Album of the Year. Dion was asked to perform "The Power of the Dream" at the opening ceremony of the 1996 Atlanta Olympic Games. In March 1996, she launched the Falling into You Tour in support of her new album, performing concerts around the world for over a year. She followed Falling into You with Let's Talk About Love (1997), which was publicized as its sequel. The recording process took place in London, New York City, and Los Angeles, and featured a host of special guests, such as Barbra Streisand on "Tell Him"; the Bee Gees on "Immortality"; and tenor Luciano Pavarotti on "I Hate You Then I Love You". Other musicians included Carole King, Sir George Martin, Bryan Adams and Jamaican singer Diana King, who added a reggae tinge to "Treat Her Like a Lady". Let's Talk About Love was another major success, reaching No. 1 all over the world, attaining platinum status in twenty-four sales territories, and becoming the fastest selling album of her career. In the United States, the album topped the chart in its seventh week of release, and was later certified 10× Platinum in the US for over 10 million copies shipped. In Canada, the album sold 230,212 copies in its first week of release, which remains a record. It was eventually certified diamond in Canada for over one million copies shipped. The most successful single from the album was the classically influenced ballad "My Heart Will Go On", which was written and composed by James Horner and Will Jennings, and produced by Horner and Walter Afanasieff. Serving as the love theme for the 1997 blockbuster film Titanic, the song topped the charts across the world and became Dion's signature song. Horner and Jennings won the Academy Award and Golden Globe for Best Original Song, while Dion herself garnered two Grammy Awards for Best Female Pop Vocal Performance and the most coveted, Record of the Year, (the song itself won four awards, but two were presented to the songwriters). "My Heart Will Go On" and "Think Twice" made her the only female artist in the UK to have two singles to sell more than a million copies. In support of her album, she embarked on the Let's Talk About Love Tour between 1998 and 1999. Dion ended the 1990s with three more extremely successful albums: the Christmas album These Are Special Times (1998), the French-language album, S'il suffisait d'aimer, and the compilation album All the Way... A Decade of Song (1999). On These Are Special Times, she co-wrote the song "Don't Save It All for Christmas Day" along with Ric Wake and Peter Zizzo. The album was her most classically influenced yet, with orchestral arrangements found on virtually every track. The album featured the single "I'm Your Angel" (a duet with R. Kelly), which became her fourth US No. 1 single, and a smash hit across the world. The album's second single "The Prayer" (a duet with Andrea Bocelli) served as the soundtrack of the 1998 film Quest for Camelot and won a Golden Globe Award for Best Original Song. All the Way... A Decade of Song drew together her most successful hits coupled with seven new songs, including the lead-off single "That's the Way It Is", a cover of Roberta Flack's "The First Time Ever I Saw Your Face", and "All the Way", a duet with Frank Sinatra. All the Way became one of the best-selling compilation albums of all time, reaching No. 1 in the United States for three weeks. The album was later certified 7x Platinum in the US for 7 million copies shipped. It also topped the charts in the UK, Canada, and Australia. Her last French-language studio album of the 1990s, S'il suffisait d'aimer, was very successful as well, topping the charts in every major French-speaking country, including France, Switzerland, the Wallonia region of Belgium, and Canada. In France, the album was certified diamond, selling 1.5 million copies. By the end of the 1990s, Dion had sold more than 130 million records worldwide, and had won a slew of industry awards. Her status as one of the music industry's biggest pop divas was further solidified when she was asked to perform on VH1's Divas Live special in 1998, with superstars Aretha Franklin, Gloria Estefan, Shania Twain, and Mariah Carey. That year, she also received two of the highest Canadian honours: "Officer of the Order of Canada for Outstanding Contribution to the World of Contemporary Music" and "Officer of the National Order of Quebec". A year later, she was inducted into the Canadian Broadcast Hall of Fame, and was honoured with a star on Canada's Walk of Fame. Starting from the mid-1990s, the pop rock influence that was more noticeable in her earlier releases was replaced by a more mature feel. Additionally, the recurring theme of "love" dominated most of her releases, which led to some critics dismissing her music as banal. Other critics, like Elysa Gardner and Jose F. Promis, praised her voice during this period, describing it as a "technical marvel". Steve Dollar, in his review of These Are Special Times, opined that Dion was a "vocal Olympian for whom there ain't no mountain—or scale—high enough". 2000–2003: Hiatus, A New Day Has Come, One Heart, and 1 fille & 4 types After releasing and promoting thirteen albums during the 1990s, Dion stated that she needed to settle down, and announced on her latest album All the Way... A Decade of Song, that she needed to take a step back from the spotlight and enjoy life. Angélil's diagnosis with esophageal cancer also prompted her to hiatus. While on break, she was unable to escape the spotlight. In 2000, the National Enquirer published a false story about the singer. Brandishing a picture of Dion and her husband, the magazine misquoted her, printing the headline, "Celine — 'I'm Pregnant With Twins!'" She later sued the magazine for more than $20million. The editors of the Enquirer printed an apology and a full retraction to her in the next issue, and donated money to the American Cancer Society in honour of her and her husband. A year after the incident, after undergoing fertility treatments, she gave birth to a son, René-Charles Dion Angélil, on 25 January 2001, in Florida. Following the 11 September attacks, Dion returned to the music scene, and in a televised performance sang "God Bless America" at the benefit concert America: A Tribute to Heroes. Chuck Taylor of Billboard wrote, "the performance ... brings to mind what has made her one of the celebrated vocalists of our time: the ability to render emotion that shakes the soul. Affecting, meaningful, and filled with grace, this is a musical reflection to share with all of us still searching for ways to cope." She performed it again in 2003 during pregame festivities for Super Bowl XXXVII in San Diego. In December 2001, she published her autobiography My Story, My Dream which chronicled her rags-to-riches story. Dion ended her three-year sabbatical from the music industry with the aptly titled album A New Day Has Come, released in March 2002. The album was her most personal yet, with songs focusing on her motherhood and maturation as a woman such as "A New Day Has Come", and "Goodbye's (The Saddest Word)". She stated: "becoming a mother makes you a grown-up." She stated, "A New Day Has Come, for Rene, for me, is the baby. It has everything to do with the baby ... That song "A New Day Has Come" represents very well the mood I'm feeling right now. It represents the whole album." A New Day Has Come debuted at No. 1 in more than 17 countries, including the United Kingdom and Canada. In the United States, the album debuted at No. 1 on the Billboard 200, with first-week sales of 527,000 copies; marking her first No. 1 debut on the chart, as well as the highest debut sales week of her career in the US. It was eventually certified 3× Platinum in the United States, and 6× Platinum in Canada. While the album was commercially successful, critical reviews suggested that it was "forgettable" and the lyrics were "lifeless". Both Rob Sheffield of Rolling Stone magazine, and Ken Tucker of Entertainment Weekly, stated that Dion's music had not developed much during her break, and classed her material as trite and mediocre. Sal Cinquemani of Slant Magazine called the album "a lengthy collection of drippy, gooey pop fluffer-nutter". The first single off the album, A New Day Has Come peaked at No.22 on the Billboard Hot 100 charts, being an airplay-only release. On the Hot Adult Contemporary Tracks, however, the song spent 21 consecutive weeks at No. 1, breaking the record for the longest span at the top. The previous record holders were Phil Collins' You'll Be in My Heart and Dion's own Because You Loved Me, both of which lasted nineteen weeks at No. 1. The album's next single, "I'm Alive", was featured on the soundtrack for Stuart Little 2 (2002), and was ranked number 2 on the European Hot 100 Singles, and number 6 on the Hot Adult Contemporary Tracks in the United States. During 2002, she performed for many benefit concerts, including her second appearance on VH1 Divas Live, a concert to benefit the VH1 Save The Music Foundation, alongside Cher, Anastacia, Dixie Chicks, Mary J. Blige, Whitney Houston, Cyndi Lauper, Shakira, and Stevie Nicks. In conjunction with an endorsement deal with Chrysler, she released One Heart (2003), an album that represented her appreciation for life. The album largely consisted of pop and dance music—a deviation from the soaring, melodramatic ballads, for which she had been known. Although the album achieved moderate success, One Heart was met with mixed criticism, and words such as "predictable" and "banal" appeared even in the most lenient reviews. A cover of the 1989 Cyndi Lauper hit "I Drove All Night", released to launch her advertising campaign with Chrysler, incorporated elements of dance-pop and rock and roll. The advertising deal was met with criticism, with some stating that Dion was trying to cater to her sponsors. After One Heart, she released her next English-language studio album, Miracle (2004). Miracle was a multimedia project conceived by Dion and Australian photographer Anne Geddes and had a theme centring on babies and motherhood. The album was filled with lullabies and other songs of maternal love and inspiration, including covers of Louis Armstrong's "What a Wonderful World" and John Lennon's "Beautiful Boy". The reviews for Miracle were mixed. Stephen Thomas Erlewine of Allmusic.com gave the album three of out five stars, stating, "The worst you can say about the record is that there are no surprises, but the audience for this record doesn't want surprises; they want comfort, whether it arrives in polished music or artsy photos of newborns, and Miracle provides both, which makes it appealing for those expectant or new mothers in Dion's audience." Chuck Taylor of Billboard magazine wrote that the single "Beautiful Boy" was "an unexpected gem" and called Dion "a timeless, enormously versatile artist", Chuck Arnold of People Magazine, however, labelled the album as excessively sentimental, while Nancy Miller of Entertainment Weekly opined that "the whole earth-mama act is just opportunism, reborn". Miracle debuted at No. 4 on the Billboard 200 chart and No. 1 in Canada and was eventually certified platinum by the RIAA. The francophone album 1 fille & 4 types (1 Girl & 4 Guys), released in October 2003, fared better than her previous two releases and showed her trying to distance herself from the "diva" image. She recruited Jean-Jacques Goldman, Gildas Arzel, Eric Benzi, and Jacques Veneruso, with whom she had previously worked on two of her best-selling French albums S'il suffisait d'aimer and D'eux. Labeled "the album of pleasure" by Dion herself, the album cover showed her in a simple and relaxed manner, contrary to the choreographed poses usually found on her album covers. The album achieved widespread commercial success in France, Canada, and Belgium where it reached No. 1. In France, the album debuted at No. 1 and was later certified 2× platinum after selling over 700,000 copies. Critic Stephen Erlewine of AllMusic wrote that Dion's vocals were "back at top of their game" and that she was "getting back to pop basics and performing at a level unheard in a while". Though her albums were commercially successful, they did not achieve the sales or the reception of her previous works. Her songs received less airplay as radio became less embracing of balladeers like Dion, Carey, and Houston, and was focused on more up-tempo, Urban/Hip-hop songs. By 2004, Dion had accumulated sales of more than 175 million albums worldwide and received the Chopard Diamond Award from the World Music Awards for her achievements. According to the official World Music Awards website, the award is rare; it is "not presented every year" and an artist can be presented with the award only for selling "over 100 million albums during their career". 2003–2007: A New Day... In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza, A New Day..., at The Colosseum at Caesars Palace, Las Vegas. This move was generally seen as risky, but journalist Miriam Nunzio wrote that it was "one of the smartest business decisions in years by any major recording artist". Dion conceived the show after seeing O by Franco Dragone during her break from recording, and it premiered on 25 March 2003, in a 4,000-seat arena specifically designed for her show and modelled after the Roman Colosseum. Many stars attended the opening night including Dick Clark, Alan Thicke, Kathy Griffin, Lance Bass, and Justin Timberlake, who hosted the television special. The show, directed by Dragone and choreographed by the renowned Mia Michaels, was a combination of dance, music, and visual effects. It included Dion performing her biggest hits against an array of dancers and special effects. Reviewer Mike Weatherford felt that, at first, Dion was not as relaxed as she should be, and at times, it was hard to find the singer among the excessive stage ornamentation and dancers. However, he noted that the show had become more enjoyable over the course of its run, because of her improved stage-presence and simplified costumes. The show was well-received by audiences, despite the complaints of expensive tickets; it routinely sold out until its end in late 2007. Ticket prices averaged $135.33. According to Pollstar, Dion sold 322,000 tickets and grossed US$43.9 million in the first half of 2005, and by July 2005, she had sold out 315 out of 384 shows. By the end of 2005, she grossed more than US$76 million, placing sixth on Billboard's Money Makers list for 2005. Because of the show's success, her contract was extended into 2007 for an undisclosed sum. On 5 January 2007, it was announced that the show would end on 15 December 2007, with tickets for the period after October 2007 having gone on sale from 1 March. According to Billboard, A New Day... is the most successful residency of all time, grossing over US$385 million ($ million in dollars) and drawing nearly three million people to 717 shows. The Live in Las Vegas: A New Day... DVD was released on 10 December 2007, in Europe and the following day in North America. 2007–2010: D'elles, Taking Chances, and Taking Chances Tour On 21 May 2007, Dion released the French-language album D'elles (About Them), which debuted at the top of the Canadian album charts, selling 72,200 copies in its first week. It marked her tenth No. 1 album in the SoundScan era, and her eighth to debut at the top position. In Canada, the album has been certified 2× platinum, and within the first month had already shipped half a million units worldwide. D'Elles also reached No. 1 in France and Belgium. The first single "Et s'il n'en restait qu'une (je serais celle-là)" (meaning "And If There Was Only One Woman Left (I Would Be That One)") debuted at the top of the French singles chart a month earlier. Later that same year, she released the English album Taking Chances on 12 November in Europe, and 13 November in North America. Her first English studio album since 2003's One Heart, it featured pop, R&B, and rock inspired music. For this album, she collaborated with John Shanks and ex-Evanescence guitarist Ben Moody, as well as Kristian Lundin, Peer Åström, Linda Perry, Japanese singer Yuna Ito, and R&B singer-songwriter Ne-Yo. Dion stated, "I think this album represents a positive evolution in my career ... I'm feeling strong, maybe a little gutsier than in the past, and just as passionate about music and life as I ever was." She launched her year-long worldwide Taking Chances Tour on 14 February 2008, in South Africa, performing 132 dates in stadiums and arenas across five continents. The Taking Chances Tour was a great success in the United States, reaching the No. 1 spot on the Billboard Boxscore, having sold out every concert in the US and Canada. In addition, she appeared on Idol Gives Back for a second year in a row. Dion was nominated for six Juno Awards in 2008, adding to her 53 previous nominations (an all-time record). Her nominations included Artist of the Year, Pop Album of the Year (for Taking Chances), Francophone Album of the Year (for D'elles) and Album of the Year (for both Taking Chances and D'elles). The following year, she was nominated for 3 Juno Awards including the Fan Choice Award, Song of the Year (for Taking Chances), and Music DVD of the Year (for Live in Las Vegas — A New Day...) On 22 August 2008, Dion presented a free outdoor concert, mostly in French, on the Plains of Abraham, in Québec City, Canada, for the 400th anniversary of Québec City. The celebration gathered approximately 490,000 people. The concert, called Céline sur les Plaines, was released on DVD on 11 November 2008, in Québec and was released on 20 May 2009, in France. Late October 2008 saw the worldwide release of a comprehensive English-language greatest hits album, My Love: Essential Collection. In May 2009, Dion was named the 20th best-selling artist of the decade and the second-best-selling female artist of the decade in the United States, selling an estimated 17.57 million copies of her albums there since 2000. In June 2009, Forbes reported that she earned $100 million during 2008. In December 2009, Pollstar announced that she was the best-selling solo touring act of the decade and the second-best-selling touring act of the decade, behind only the Dave Matthews Band. she grossed $522.2 million during the decade, a large portion of that sum coming from her five-year residency at Caesars Palace. On 17 February 2010, Dion released into theatres a documentary film about her Taking Chances Tour, titled, Celine: Through the Eyes of the World. The documentary shows behind-the-scenes footage of her both onstage and offstage, along with footage of her with her family as they travelled the world with her. The distributor is the Sony Pictures subsidiary, Hot Ticket. The film was later released on Blu-ray and DVD on 4 May 2010, along with the CD/DVD, Taking Chances World Tour: The Concert. At the 52nd Grammy Awards in February 2010, Dion joined Carrie Underwood, Usher, Jennifer Hudson, and Smokey Robinson to perform the song "Earth Song" during the 3-D Michael Jackson tribute. In January 2010, The Los Angeles Times presented its annual list of the top ten largest earners of the year, revealing that Dion took the top spot for the entire decade, with $US747.9 million in total revenue from 2000–2009. The largest haul came from ticket sales, totalling $522.2 million. Additionally, she was named "Artist of the Decade" in her native Canadian province of Québec, announced by the Montréal-based newspaper, Le Journal de Québec in 2009 December. A public online survey asked responders to vote for whom they believe deserved the above-mentioned accolade. Furthermore, in a May 2010 Harris Poll, Dion was named the most popular musician in the United States, ahead of U2, Elvis Presley, and The Beatles while factoring in gender, political affiliations, geographic region of residence, and income. Specifically, she was the most popular musician in the female demographic, as well as among all Democrats, those who live in the eastern United States and southern United States, and those who have incomes between US$35k and US$74.9k. In September 2010, she released the single "Voler", a duet with French singer Michel Sardou. The song was later included on Sardou's album. In addition, it was announced in October 2010 that Dion wrote and composed a new song for Canadian singer, Marc Dupré entitled "Entre deux mondes". 2011–2014: Celine, Sans attendre, and Loved Me Back to Life In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. In 2018, Billboard stated her residency Celine is the second most successful residency of all time. By the end of 2011, Dion has sold 331,000 albums (despite not releasing any studio album since 2007) and 956,000 digital tracks in the United States. For a record sixth time, she performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, she appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, she released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, she made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. She began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. In June 2013, Dion co-produced the show titled "Voices" by Véronic DiCaire at the Bally’s Hotel & Casino’s Jubilee Theatre and was presented 145 times up until 2015. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Céline une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. 2014–present: Husband's death, Encore un soir, Courage, and return to Vegas On 13 August 2014, Dion announced the indefinite postponement of all her show business activities, including her concert residency at Caesars Palace in Las Vegas, and the cancellation of her Asia Tour, because of the worsening of her husband's health after he underwent the removal of a cancerous tumor in December 2013. However, on 20 March 2015, she announced that she would be returning to The Colosseum at Caesars Palace in late August 2015. On 14 January 2016, she cancelled the rest of the January performances due to her husband's and her brother's death from cancer. Dion resumed the residency on 23 February to a sold-out crowd and rave reviews. In October 2015, Dion announced on social media that she had begun working on a new French album, posting a photo by the side of Algerian singer Zaho. Dion's French single, "Encore un soir", was released on 24 May 2016. On 20 May, she released a cover of Queen's song "The Show Must Go On", featuring Lindsey Stirling on violin. She performed "The Show Must Go On" at the 2016 Billboard Music Awards on 22 May, and received the Billboard Icon Award (presented to her by her son, René-Charles Angélil) in recognition of her career spanning over three decades. The singer's new French album, Encore un soir, was released on 26 August 2016. It features fifteen tracks performed in French and, according to the singer, has a personal choice of the songs – more uplifting lyrics were chosen. Encore un soir topped the charts in France, Canada, Belgium and Switzerland, and was certified Diamond in France, 2× Platinum in Canada and Platinum in Belgium and Switzerland. It has sold over 1.5 million copies worldwide. In 2016 and 2017, Dion toured Europe and Canada with two sold-out concert tours. On 9 September 2016, she released "Recovering", a song written for her by Pink after Dion's husband René Angélil died in January 2016. Dion also recorded "How Does a Moment Last Forever" for the Beauty and the Beast: Original Motion Picture Soundtrack, released in March 2017. Her compilation, Un peu de nous topped the chart in France in July and August 2017. On 3 May 2018, she released the single "Ashes" from the film Deadpool 2. The remix version of the song topped the US Dance Club Songs chart in July 2018. From June to August 2018, she toured the Asia-Pacific region and grossed $56.5 million from 22 shows. On 24 September 2018, she announced the end of her Las Vegas residency Celine, with the final date set for 8 June 2019. She is working on a new English album. In January 2019, she performed "A Change Is Gonna Come" at the "Aretha! A Grammy Celebration for the Queen of Soul" Franklin's tribute concert, to be broadcast in March 2019. In March 2019, she was one of 11 singers from Quebec, alongside Ginette Reno, Diane Dufresne, Isabelle Boulay, Luce Dufault, Louise Forestier, Laurence Jalbert, Catherine Major, Ariane Moffatt, Marie Denise Pelletier, and Marie-Élaine Thibert, who participated in a supergroup recording of Renée Claude's 1971 single "Tu trouveras la paix" after Claude's diagnosis with Alzheimer's disease was announced. On 3 April 2019, during a Facebook Live event, Dion announced her 2019/2020 Courage World Tour, beginning in Quebec City on 18 September 2019. She also announced a new English language album of the same name, released in November 2019. On 18 September 2019, Dion released three songs, "Lying Down", "Courage", and "Imperfections" from her upcoming album, Courage. On 26 February 2020, Dion released two songs as exclusive Spotify singles: an acoustic version of Imperfections, and a cover of Chris Isaak's Wicked Game. Isaak joined Dion and sang vocals on the track. On 10 June 2020, Dion announced that her Courage World Tour will kick off again in 2021, after the tour was postponed due to the COVID-19 pandemic. On 21 May 2021, it was announced Dion would return to Vegas, in November of the same year, for a limited-run installment of ten dates in collaboration with Resorts World Las Vegas. Billboard listed Dion as the third top paid musician of 2020 (second by female artist), with total of earnings of $17.5 million. On 15 January 2022, a statement posted to Dion's website and social media accounts announced that the U.S. and Canadian concert dates for March-April 2022 were canceled because of “severe and persistent muscle spasms” that are preventing Dion from performing onstage. Artistry Influences Dion cites idols as varied as Michael Jackson, Aretha Franklin, Charles Aznavour, Carole King, Anne Murray, Barbra Streisand, and the Bee Gees, all of whom she would eventually collaborate with. Her music has been influenced by numerous genres, including pop, rock, gospel, R&B, and soul, and her lyrics focus on themes of poverty, world hunger, and spirituality, with an emphasis on love and romance. After the birth of her first child, her work increasingly focused on maternal love. Musical style Dion has faced considerable criticism from critics, who state that her music often retreats behind pop and soul conventions, and is marked by excessive sentimentality. According to Keith Harris of Rolling Stone magazine, "[Dion's] sentimentality is bombastic and defiant rather than demure and retiring ... [she] stands at the end of the chain of drastic devolution that goes Aretha–Whitney–Mariah. Far from being an aberration, Dion actually stands as a symbol of a certain kind of pop sensibility—bigger is better, too much is never enough, and the riper the emotion the more true." Her francophone releases, by contrast, tend to be deeper and more varied than her English releases, and consequently have achieved more credibility. Critics have stated that Dion's involvement in the production aspect of her music is fundamentally lacking, which results in her work being overproduced and impersonal. However, coming from a family in which all of her siblings were musicians, she dabbled in learning how to play instruments like piano and guitar, and practised with a Fender Stratocaster during the recording sessions for her album Falling into You. Occasionally, Dion has contributed to the writing of a handful of her English and French songs, as well as writing a few songs for other artists such as Marc Dupre. Additionally, as her career progressed, she found herself taking charge in the production of her albums. On her first English album, which she recorded before she had a firm command of the English language, she expressed disapproval, which could have been avoided if she had assumed more creative input. By the time she released her second English album Celine Dion, she had assumed more control of the production and recording process, hoping to dispel earlier criticisms. She stated, "On the second album I said, 'Well, I have the choice to be afraid one more time and not be 100% happy, or not be afraid and be part of this album.' This is my album." Besides her contributions to some of her early French albums, Dion wrote a few of the songs on Let's Talk About Love (1997) and These Are Special Times (1998). She is often the subject of media ridicule and parody and is frequently impersonated on shows such as MADtv, Saturday Night Live, South Park, Royal Canadian Air Farce, and This Hour Has 22 Minutes for her strong accent and onstage gesticulations. However, she has stated that she is unaffected by the comments, and is flattered that people take the time to impersonate her. She even invited Ana Gasteyer, who parodied her on SNL, to appear onstage during one of her performances in New York City. While she is rarely politically outspoken, in 2005 following the Hurricane Katrina disaster, Dion appeared on Larry King Live and tearfully criticized the US government's slow response in aiding the victims of the hurricane: "There's people still there waiting to be rescued. To me that is not acceptable ... How can it be so easy to send planes in another country to kill everybody in a second and destroy lives. We need to serve our country." After her interview, she stated, "When I do interviews with Larry King or the big TV shows like that, they put you on the spot, which is very difficult. I do have an opinion, but I'm a singer. I'm not a politician." Voice and timbre Dion once claimed to be a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, Kent Nagano, maestro of the Munich Symphony Orchestra, remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the recording industry during the 1990s, alongside other female artists, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazine's list of "The 100 Outstanding Pop Vocalists". Dion is often compared to Houston and Carey for her vocal style, and to her idol Barbra Streisand for her voice. She is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn." Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Libération, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, she is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that she uses: the Québécois, the French, and the American. Her self-titled 1992 album was promoted with the slogan "Remember the name because you'll never forget the voice." Legacy Dion is regarded as one of pop music's most influential vocalists. She has been referred to as the "Queen of Power Ballads" by the media.. Billboard called Dion the "Queen of Pop". Her music and vocal styling, alongside that of Whitney Houston and Mariah Carey, have been said to shape how the bulk of modern female pop vocalists sing. These three artists have been widely credited with reviving the power ballad, and in doing so reshaping the adult contemporary radio format, making it one of the most popular formats of the 1990s and early 2000s. In 2002, Billboard named her as the "Best-selling contemporary female artist in history". According to producer, musician, and former American Idol judge Randy Jackson, Dion, Houston, and Carey are the voices of the modern era. Music critic and Dion biographer Carl Wilson notes that her "fame and influence is also renewed and expressed regularly these days by American Idol, the largest mass musical phenomenon of the past decade, where Celine's stood solidly in its pantheon of singers for young people to emulate". Many contestants on the countless televised talent competitions that have risen at the turn of the millennium often emulate Dion, Houston and Carey and cite them as idols. MTV also praised Dion by saying: "Céline Dion was better than almost anyone at capitalizing on pop’s ability to articulate feelings in sensational, over-the-top ways." Numerous artists have either mentioned Dion as a major influence or as one of their favourite singers including: Britney Spears, Rihanna, Adele, Josh Groban, Delta Goodrem, Leona Lewis, Jennifer Hudson, Vanessa Hudgens, Kelly Clarkson, Perrie Edwards, Loren Allred, Brazilian singer Wanessa Camargo, Ariana Grande, Sam Smith, Frank Ocean, Ava Max, Charlotte Cardin, and V (from BTS) among many others. Country singer Martina McBride is widely heralded by the press as the Celine Dion of Country music. Many artists have also praised Dion's voice, singing ability or expressed an interest in working with her including Met Opera conductor and musical director Yannick Nézet-Séguin, Beyoncé, Carlos Santana, Elton John, OneRepublic, Coldplay, Sharon Osbourne, Nicole Scherzinger, Ne-Yo, Carole King, Barbra Streisand, Luciano Pavarotti, Bee Gees, Sir George Martin, Justin Bieber, Jean-Jacques Goldman, Drake and Cher. Timbaland stated "Celine has such a beautiful, mesmerizing voice. She is so talented. I think we could create something that is a classic like she is already." Josh Groban remarked "She's a powerhouse. In this day and age, when more and more studio-produced, tiny-tiny voices are being rewarded ... she has this extraordinary instrument." According to Diane Warren, "Celine is the best singer by far of her generation", an opinion shared by Quincy Jones, Tommy Mottola, and David Foster. Moreover, Shania Twain and Jennifer Lopez have praised her dynamic stage presence, with Jennifer Lopez commenting on American Idol: "Celine gets on stage, she owns the stage, she runs all over that stage, she stops that stage." Leona Lewis is also a huge fan of Céline Dion saying "Celine is someone I aspire to be like in every way. "Gosh – I can't wait. I'm in the middle of picking out dresses at the moment. Celine is definitely one of my heroes. She is amazing." American singer and actress Lea Michelle said that she listened to Céline Dion's music while in the process of making her sophomore album 'Places' and cited her as one of her vocal influences. Godmother of Soul Patti LaBelle called Dion as one of the greatest singers ever. Pop singer Kelly Clarkson also praised Dion's vocal ability saying: "she has two sets of lungs when she sings." and also called her the most gifted vocalist on the planet. Dion holds the Guiness World Record for the most Juno Awards won for Album Of The Year (tied with Michael Buble & Arcade Fire). She won 3 out of the 13 nominations she received in the category throughout her career. Dion is the 3rd most decorated artist in Juno Awards history, winning 20 out of the 75 total nominations ever, becoming the most nominated artist in the awards history as well. In 1997-1998, Dion sold more than 60 million albums, and was estimated to sell a record once every 1.2 seconds. In 2017, Dion broke records across the UK as the highest grossing artist at each UK venue where she performed which included dates at the O2 Arena in London, Leeds First Direct Arena, Birmingham’s Barclaycard Arena and the SSE Hydro in Glasgow. John Meglen, president and co-CEO, Concerts West commended her by saying: "She really is the voice of our lifetime." In 2018, there were over 300,000 Taiwanese fans that clambered for the 20,000 tickets available for Célines first concert ever in Taiwan which caused the system to lag for 30 minutes. The demand caused them to add two additional shows eventually. Cultural impact In Francophone music industry On a cultural level, Dion is credited for introducing francophone music to many non-francophone countries around the globe. Her albums D'eux and S'il suffisait d'aimer remain the best selling francophone albums in history, gaining unprecedented success in non-Francophone markets such as the United Kingdom, Poland, Netherlands, Portugal, Greece, Austria, Japan, and New Zealand. According to RFI Musique, she "has done her bit for French music over the years, assuring the success of French songs which would probably never have got beyond Francophone borders without her ... Without Celine, French record sales would be dramatically lower!" In May 2008, she was awarded France's highest award, as Knight of the Legion of Honour by President of France Nicolas Sarkozy. Sarkozy praised Dion and stated: "France thanks you because your talent and success have contributed to the influence of the French language outside our borders". In Las Vegas strip She is also credited for both revitalizing and revolutionizing the entertainment scene in Las Vegas with the gargantuan successes of her residencies there. She signed a multi-million dollar deal worthed $100 million to do a residency in Vegas and is considered one of the most lucrative and risky in the touring industry. Billboard credits Dion as the one who pioneered modern residencies saying: "Since Dion's debut, hundreds of artists have tried their hand at Vegas residencies, including, most recently, Lady Gaga, Bruno Mars, Usher, Luke Bryan, Katy Perry, Rod Stewart and Sting. Once considered the domain of artists long past their peak, today's Las Vegas residency shows are big business, generating millions in sales." Moreover, Billboard also said: "She changed history and she completely changed Las Vegas," said Nelson, who notes the new residencies being announced for artists like Cardi B, Christina Aguilera and Jennifer Lopez aren't really at the same production level or scale of what Dion created with her husband René Angélil, as well as Meglen, Nelson and former AEG CEO Tim Leiweke." Dion is popularly referred as the reigning "Queen of Las Vegas" by various media outlets for her impact and legacy in the city. According to Gary Bongiovanni, president and editor-in-chief of Pollstar, "Celine redefined what artists can do in Las Vegas, helping to make it arguably the busiest entertainment city in the world." Kurt Melien, vice-president of entertainment at Caesar's Palace stated "Celine was a pioneer without question ... Twenty years ago, we couldn't have got someone the stature of Britney Spears to appear in Vegas. Stars likes her would never have considered it if Celine hadn't paved the way. She changed the face of modern Vegas." The Guardian listed Dion's Vegas residency as one of the 50 gigs that changed music, crediting her as the one who revived it, further saying: "it was Céline Dion who turned Caesars into the stage for a glorious pop comeback. Her initial five-year run was followed by a further eight years – and prompted copycat turns by Britney Spears, Pink and Katy Perry. In the economy Regarding her financial impact on Las Vegas, Stephen Brown, director of the Centre for Business and Economic Research in Las Vegas, commented: "People will come to the city just for her and they will spend money and as a consequence, she has an outsized impact on the economy", then adding "Bigger than Elvis, Sinatra and Liberace put together? Definitely." Estimations indicate that Dion's show will create up to 7,000 indirect jobs and around $114 million worth of new economic activity in each of the three years for which she has been contracted. In businesses Forbes also discussed how entrepreneurs can reclaim the power in their business by being like Céline Dion as an example saying: "Well, remember back in 2017 when Dion launched her handbag line? During a press conference, she admitted her late manager (and husband) had always handled everything for her. Every aspect of her shows was pre-decided; every move, appearance and interview was programmed in advance. She just showed up and executed (which she did brilliantly). At the end of her handbag launch press release, she said "Now . . . I'm the boss.” Starting right then and there, she’d be the one calling the shots for her shows, her kids, her handbags and everything else that mattered to her. She was going to do things her way." In Fashion Celine Dion has received various acclaims from fashion critics for reinventing her fashion style over the years. The Guardian called her "The Joyous New Queen of Fashion". Harper's Bazaar also praised Dion for being an ultimate fashion risk-taker and called her a "Fashion Chameleon". Billboard dubbed her as "Streetwear Icon" after recapping the global icon's style evolution through the years. Vogue named her as one of music's most exuberant dressers, beloved as much for her glorious voice as her extravagant sense of style. Tatler discussed in an article how Cardi B might be the next Céline Dion of Paris Fashion Week, proving that Céline is the standard for the occasion. Fashion stylist and image architect Law Roach praised Celine Dion, calling her "The Queen of Camp" & "The Queen of Glitter & Sequins". Dion further cemented her name in the fashion world by wearing the reverse tuxedo at 1999 Academy Awards, which became one of the most talked ensembles of that time. Vogue also listed her iconic 1999 reverse tuxedo as one of the most controversial looks of all time saying it was undeniably the highlight of the year. W also listed the iconic ensemble as one of the most memorable dresses of all time. In February 2020, Sergio Guadarrama, a contestant of Project Runway, copied the idea of reverse tuxedo and claimed it was his original idea and had even claimed that he had no idea about the iconic tuxedo, which left the fans of the show disappointed. Breaking music barriers Vice discussed how Dion's music made impact in Nigerian culture, saying: "By the 2000s, Celine Dion was basically the queen of Nigerian airwaves. It was impossible to watch TV or listen to the radio without hearing her music – either on adverts, or in Nollywood films featuring heartthrobs like Genevieve Nnaji and Ramsey Nouah." Billboard also discussed how Dion’s appearance at Jamaica Jazz & Blues changed the festival’s future. According to Walter Elmore, CEO of Art of Music Productions said Dion is by far the most expensive artist he has ever booked, further saying: “I have already received calls from the management of several major US artists who want to perform here next year because they heard Celine’s comments about our show’s production quality,” Elmore said. “Her performance confirms that we can bring the biggest artists on the planet to our little island.” In 2012, Dion visited Jamaica for the very first time which broke attendance records and caused traffic congestion around the concert venue. Vice discussed how Dion's music has been constant in dancehall clubs for decades, as many Jamaican dancehall artists cover her songs and remixing her ballads into anthems of dance hall. Further adding: "Several current dancehall musicians continue to use utilize Dion’s tunes with the addition of upbeat guitars, pan flutes, and backbeat shuffles that transform the music for consumption by dancehall fans." Being referenced in songs The Canadian comedy music group The Arrogant Worms released an album called Dirt in 1999 which contained a song called "Celine Dion", about the singers' stalker-like affection for her. Dion has also been referred/mentioned in various hit songs including "Dark Fantasy" by Kanye West, "911/Mr. Lonely" by Tyler, the Creator, "That Girl" by Pharrell Williams, "Work" by A$AP Ferg, and "What's The Use" by Mac Miller, to name a few. Cultural honors In 1999, Dion received a star on Canada's Walk of Fame and was inducted into the Canadian Broadcast Hall of Fame. She received a star on the Hollywood Walk of Fame in January 2004, one which she dedicated to her father, who had died the month prior. In May 2003, she placed at No. 10 on VH1's list of "50 Greatest Women of the Video Era". Dion's album Falling into You is included on the Rock and Roll Hall of Fame's Definitive 200 list. "My Heart Will Go On" was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts. In 2021, Dion was ranked by Forbes as the third richest woman in entertainment with an estimated net worth of US$460 million. In August 2008, she received an honorary doctorate in music from the Université Laval in Quebec City. In October 2010, Dion was named a Goodwill Ambassador, a program created by the UN in 1999, sharing this accolade with Oscar-winner Susan Sarandon. She also received several state decorations. In 2004, she was awarded the Society of Singers Lifetime Achievement Award. On 26 July 2013, she was awarded the highest rank of the Order of Canada, the Companion of the Order of Canada, by the Governor General of Canada and the investiture ceremony was held at Citadelle of Quebec, in which they said: "An incomparable artist, she is equally known for her compassion, generosity and commitment to a number of social and humanitarian causes. She is notably the national celebrity patron for Cystic Fibrosis Canada and honorary patron of the CHU Sainte-Justine. In addition, through her foundation, she also helps children in need and their families here in Canada and abroad." By the end of 1998, Dion was recognized by Billboard as the "Woman of the Year". They also stated how Céline's voice was featured in eight charting albums on Billboard 200 year-end chart which sold 18 million units during a calendar year (excluding her own catalog sales and recent releases at that time). West University of Timișoara conducted a research study that analyzes Céline Dion's contributions to global music culture in both spatial and temporal terms, In November 2013, Dion was inducted at the American Gaming Association Hall Of Fame for her outstanding contributions to the growth and stature of the gaming industry. In popular culture Dion was referenced as an antagonist character named "Feline Dion" from the hit animated series Totally Spies! which was aired in an episode in 2013. In 2021, French actress and filmmaker Valérie Lemercier released Aline, a film which fictionalized Dion's life with Lemercier playing a singer named "Aline Dieu". Other activities Business endeavours Les Productions Feeling Inc., also known as Feeling Inc. or just Feeling, is an artist management company based in Laval, Québec, Canada, and owned by Dion and her husband and manager, Rene Angélil. She is also founder of Nickels Restaurant food chain. She and her husband also own Le Mirage Golf Club and Schwartz's Restaurant. In association with Andre Agassi, Steffi Graf and Shaquille O'Neal, she opened a popular night club called Pure, located at Caesars Palace. Dion became an entrepreneur with the establishment of her franchise restaurant Nickels in 1990. She has since divested her interests in the chain and is no longer affiliated with Nickels, as of 1997. In 2003, Dion signed a deal with Coty, Inc. to release Celine Dion Parfums. Her latest fragrance, Signature, was released in September 2011 with an advertising campaign by New York agency Kraftworks NYC. Since its inception, Celine Dion Parfums has grossed over $850 million in retail sales. In October 2004, Air Canada hired Dion as part of their promotional campaign to unveil new service products and an updated livery. "You and I", the theme song sung by Dion, was written by advertising executives working for Air Canada. Dion also launched an eponymous bag and accessories line "Céline Dion Collection". According to Innee-Sedona International, the Asia partner for Bugatti Group said that it already topped $10 million sales after just three collections. Philanthropy Dion has actively supported many charity organizations, worldwide. She has promoted the Canadian Cystic Fibrosis Foundation (CCFF) since 1982, and became the foundation's National Celebrity Patron in 1993. She has an emotional attachment to the foundation; her niece Karine succumbed to the disease at the age of sixteen, in Dion's arms. In 2003, she joined a number of other celebrities, athletes, and politicians, including Josh Groban and Yolanda Adams to support "World Children's Day", a global fundraising effort sponsored by McDonald's. The effort raised money from more than 100 nations and benefited orphanages and children's health organizations. In addition, she has been a major supporter of the T. J. Martell Foundation, the Diana Princess of Wales Memorial Fund, and many health and educational campaigns. During the aftermath of Hurricane Katrina, she donated $1 million to the victims of the storm, and held a fund-raising event for the victims of the 2004 Asian tsunami, which subsequently raised more than $1 million. After the 2008 Sichuan earthquake, she donated $100,000 to China Children & Teenagers' Fund and sent a letter showing her consolation and support. Since 2004, she is involved, alongside husband René Angelil, with the Québec gay community by supporting the publication of health and HIV prevention materials in Gay Globe Magazine, owned by journalist Roger-Luc Chayer. She is also a member of Canadian charity Artists Against Racism. In November 2018, she launched a gender-neutral clothing line for kids, Celinununu. In 2009, Dion joined an effort along with Leonardo DiCaprio, James Cameron and Kate Winslet, to donate money to support the nursing home fees of the then-last living survivor of the sinking of the Titanic, Millvina Dean. The campaign resulted in $30,000 as donation. Personal life As the youngest of 14 children, Dion grew up wearing hand-me-downs and sharing a bed with several sisters. As a baby, she slept in a drawer to save on a crib. She was bullied at school and called "Vampire", owing to her teeth and skinny frame. Local tabloids even dubbed her "Canine Dion" in the teenage years of her career. She often spoke of running home from school to play music in the basement with her brothers and sisters. "I detested school", she would later write in her autobiography. "I had always lived surrounded by adults and children a lot older than me. I learned everything I needed to know from them. As far as I was concerned, real life existed around them." Dion's eldest sister was already in her twenties, married, and pregnant with her first child at the time Dion's mother, Thérèse, was pregnant with Celine. Dion first met René Angélil, her future husband and manager, in 1980, when she was 12 and he was 38, after her brother, Michel Dondalinger Dion, had sent him a demonstration recording of "Ce n'était qu'un rêve" ("It Was Only a Dream/Nothing But A Dream"), a song she, her mother Thérèse, and her brother Jacques Dion had jointly written. Over subsequent years, Angélil guided her to stardom in francophone territories. After the dissolution of Angélil's second marriage, he and Dion took a professional break and he spent the major part of the year in Las Vegas, while Dion was learning English and taking dance and vocal lessons in Montreal. Upon his return, "he avoided being alone with me for too long a time", she said in her 2000 autobiography My Story, My Dream. Meanwhile, she kept a photo of Angélil under her pillow, writing, "Before I fell asleep, I slipped it under the pillow, out of fear that my mother, who always shared a room with me, would find it." She also wrote "Less and less could I hide from myself the fact that I was in love with Rene; I had all the symptoms," and "I was in love with a man I couldn't love, who didn't want me to love him, who didn't want to love me." Dion's mother, who traveled everywhere with the singer until she was 19, was initially wary of her daughter's growing infatuation with a much older and twice-divorced Angélil, but Dion was insistent, telling her mother "I'm not a minor. This is a free country. No one has the right to prevent me from loving whoever I want to." Their professional relationship eventually turned romantic after Dion's win at the Eurovision Song Contest in Dublin in 1988; she was 20. The romance was known to only family and friends for five years, though Dion nearly revealed all in a tearful 1992 interview with journalist Lise Payette. Many years later, Payette penned the song "Je cherche l'ombre" for Dion's 2007 album D'elles. Dion and Angélil became engaged in 1993, on Dion's 25th birthday, and made their relationship public in the liner notes of her 1993 album The Colour of My Love. They married on 17 December 1994, at Notre-Dame Basilica in Montreal, Quebec. On 5 January 2000, Dion and Angélil renewed their wedding vows in Las Vegas. In May 2000, Dion had two small operations at a fertility clinic in New York to improve her chances of conceiving, after deciding to use in vitro fertilization because of years of failed attempts to conceive. Their first son, René-Charles Angélil, was born on 25 January 2001. Dion suffered a miscarriage in 2009. In May 2010, Angélil announced that she was 14 weeks pregnant with twins after a sixth treatment of in vitro fertilization. On Saturday, 23 October 2010, at 11:11 and 11:12 am respectively, Dion gave birth to fraternal twins by Caesarean section at St. Mary's Medical Center in West Palm Beach, Florida, The twins were named Eddy, after Dion's favourite French songwriter, Eddy Marnay, who had also produced her first five albums; and Nelson, after former South African President Nelson Mandela. She appeared with her newborn sons on the cover of 9 December 2010 issue of the Canadian edition of Hello! magazine. On 14 January 2016, Angélil died of throat cancer. His funeral was held on 22 January 2016, in Notre-Dame Basilica in Montreal, where he and Dion wed 21 years earlier. The couple's eldest son, René-Charles, gave the eulogy just three days before his 15th birthday. Following Angélil's death, Dion became the sole owner and president of her management and production companies, including CDA Productions and Les Productions Feeling. Two days after Angélil's deathon what would have been her husband's birthdayDion's brother, Daniel, died aged 59, also of cancer. On 22 March 2018, Dion's management team announced that she had been dealing with hearing irregularities for the previous 12–18 months due to patulous Eustachian tube and would undergo a minimally invasive surgical procedure to correct the problem after ear-drop medications appeared to be no longer working. Owing to her slight frame, Dion has for decades been subject of eating disorder rumors, which she has consistently denied: "I don't have an eating problem, and there's nothing more I can say about it". "My work requires me to be in great physical shape. I wouldn't have been able to live up to a hundred shows a year and travel ceaselessly from one end of the world to the other if I had eaten too much or not enough, or if, as certain magazines have claimed, I made myself throw up after each meal." She has often spoken about having been bullied at school and lacking confidence in her early years in the business: "I didn't have, visually, what it took. I was not pretty, I had teeth problems, and I was very skinny. I didn't fit the mold". Dion took up ballet under the guidance of her former dancer, Naomi Stikeman, who also previously performed for The National Ballet of Canada and La La La Human Steps, and former Cirque du Soleil dancer-turned-fashion-illustrator, Pepe Muñoz, who is also part of her styling team. She is also a skier and a regular at her son René-Charles' hockey games. Dion resides in Henderson, Nevada, in a house she bought with her husband in 2003. She previously owned homes in Montreal, Quebec, and Jupiter Island, Florida. Dion's older son René-Charles Angélil loves music and has tried to follow a musical path. Under the stage name Big Tip, he released in May 2018 on his SoundCloud account 6 rap songs including originals "The Kid", "The Apple" and "Never Stop" and two adaptations from The Weeknd songs, "Catwalks" sampling on The Weeknd's "Sidewalks" and a remix of The Weeknd's "Loft Music" as "Loft Music Remix". He also released the 5-track EP CasiNo. 5 in December 2020 using the artistic name RC Angelil. The EP includes the tracks "Mamba Mentality", "Money, Thrills and Rest", "No Ls", "GG4" (featuring PAKKA) and "LV". Discography French-language studio albums La voix du bon Dieu (1981) Céline Dion chante Noël (1981) Tellement j'ai d'amour... (1982) Les chemins de ma maison (1983) Chants et contes de Noël (1983) Mélanie (1984) C'est pour toi (1985) Incognito (1987) Dion chante Plamondon (1991) D'eux (1995) S'il suffisait d'aimer (1998) 1 fille & 4 types (2003) D'elles (2007) Sans attendre (2012) Encore un soir (2016) English-language studio albums Unison (1990) Celine Dion (1992) The Colour of My Love (1993) Falling into You (1996) Let's Talk About Love (1997) These Are Special Times (1998) A New Day Has Come (2002) One Heart (2003) Miracle (2004) Taking Chances (2007) Loved Me Back to Life (2013) Courage (2019) Concert tours and residencies Tours Les chemins de ma maison (1983–1984) Céline Dion en concert (1985) Tournée Incognito (1988) Unison Tour (1990–1991) Celine Dion in Concert (1992–1993) The Colour of My Love Tour (1994–1995) D'eux Tour (1995–1996) Falling into You: Around the World (1996–1997) Let's Talk About Love World Tour (1998–1999) Taking Chances World Tour (2008–2009) Tournée Européenne 2013 Summer Tour 2016 Celine Dion Live 2017 Celine Dion Live 2018 Courage World Tour (2019–2023) Residencies A New Day... (2003–2007) Celine (2011–2019) Celine (2022) Filmography Touched by an Angel The Nanny All My Children La fureur de Céline Des fleurs sur la neige Quest for Camelot as Juliana (singing voice) Céline sur les Plaines Celine: Through the Eyes of the World Sur la piste du Marsupilami Hell's Kitchen Muppets Most Wanted References Bibliography Céline Dion. Artist direct. Retrieved on 18 December 2005. "Celine Dion". Contemporary Musicians, Volume 25. Gale Group, 1999. "Celine Dion". Newsmakers 1995, Issue 4. Gale Research, 1995. Céline Dion. Rock on the Net. Retrieved 20 November 2005. Céline Dion. The Canadian Encyclopedia. Retrieved 2 July 2006 Céline Dion provided by VH1.com Retrieved 16 August 2005. Dion extends long Las Vegas stint. news.bbc.co.uk. Retrieved 5 November 2005. Durchholz, Daniel. Review: One Heart. St. Louis Post-Dispatch. St. Louis, Mo.: 24 April 2003. p. F.3 The 100 Outstanding Pop Vocalist covemagazine.com Retrieved 1 November 2005. Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties () World Music Awards Diamond Award Retrieved 1 November 2005, (Search by year required) Further reading External links CelineDion.com – Official website operated by Sony Music Canada (English, French). [ Celine Dion] at AllMusic [ Celine Dion] at Billboard.com 1968 births Living people 20th-century Canadian composers 20th-century Canadian women singers 20th-century women composers 21st-century Canadian composers 21st-century Canadian women singers 21st-century women composers 550 Music artists Ballad musicians Businesspeople from Florida Businesspeople from Quebec Canadian businesspeople in retailing Canadian child singers Canadian contemporary R&B singers Canadian dance musicians Canadian expatriate musicians in the United States Canadian women pop singers Canadian women rock singers Canadian women singers Canadian pop pianists Canadian restaurateurs Canadian Roman Catholics Canadian soft rock musicians Canadian sopranos Canadian soul singers Canadian voice actresses Canadian women in business Canadian women philanthropists Canadian women pianists Chevaliers of the Légion d'honneur Chevaliers of the Ordre des Arts et des Lettres Columbia Records artists Companions of the Order of Canada Epic Records artists Eurovision Song Contest entrants for Switzerland Eurovision Song Contest entrants of 1988 Eurovision Song Contest winners FAO Goodwill ambassadors Félix Award winners French-language singers of Canada French Quebecers Grammy Award winners Ivor Novello Award winners Juno Award for Album of the Year winners Juno Award for Artist of the Year winners Juno Award for Dance Recording of the Year winners Juno Award for Francophone Album of the Year winners Juno Award for International Album of the Year winners Juno Award for Single of the Year winners Juno International Achievement Award winners Las Vegas shows Musicians from Las Vegas Officers of the National Order of Quebec People from Charlemagne, Quebec People from Henderson, Nevada People from Jupiter Island, Florida Philanthropists from Florida Philanthropists from Nevada Philanthropists from Quebec Pop rock singers Singers from Quebec Singers with a three-octave vocal range Spanish-language singers of Canada Women restaurateurs World Music Awards winners

C_ae9bb47cde234280b28bfbbd3976fb78_0

Was this album released before she became famous or did this album make her famous?

Was the album Sans attendre and Loved Me Back to Life released before Celine Dion became famous or did the Sans attendre and Loved Me Back to Life album make her famous?

Celine Dion

In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. Additionally, for a record sixth time, Dion performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, Dion appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, Dion released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, Dion made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. Dion began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. The music video for "Incredible" was uploaded onto Dion's official Vevo channel in early June 2014. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Celine une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. CANNOTANSWER

CANNOTANSWER

Céline Marie Claudette Dion (; born 30 March 1968) is a Canadian singer. She is noted for her powerful and technically skilled vocals. Dion is the best-selling Canadian recording artist, and the best-selling French language artist of all time. Her music has incorporated genres such as pop, rock, R&B, gospel, and classical music. Born into a large family from Charlemagne, Quebec, she emerged as a teen star in her home country with a series of French-language albums during the 1980s. She first gained international recognition by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest, where she represented Switzerland. After learning to speak English, she signed on to Epic Records in the United States. In 1990, Dion released her debut English-language album, Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. Her recordings since have been mainly in English and French although she has also sung in Spanish, Italian, German, Latin, Japanese, and Chinese. During the 1990s, she achieved worldwide fame after releasing several best-selling English-language albums in music history, such as Falling into You (1996) and Let's Talk About Love (1997), which were both certified diamond in the US and over 30 million sales worldwide each. She also scored a series of international number-one hits, including "The Power of Love", "Think Twice", "Because You Loved Me", "It's All Coming Back to Me Now", "My Heart Will Go On", and "I'm Your Angel". Dion continued releasing French albums between each English record; D'eux (1995) became the best-selling French-language album of all time, while S'il suffisait d'aimer (1998), Sans attendre (2012), and Encore un soir (2016), were all certified diamond in France. During the 2000s, she built her reputation as a highly successful live performer with A New Day... on the Las Vegas Strip (2003–07), which remains the highest-grossing concert residency of all time, as well as the Taking Chances World Tour (2008–09), one of the highest-grossing concert tours of all time. Dion is also one of the best-selling music artists of all time, with record sales of more than 200 million worldwide. Although her releases have often received mixed critical reception, Dion is regarded as one of pop music's most successful vocalists. She has won five Grammy Awards, including Album of the Year and Record of the Year. Billboard named her the "Queen of Adult Contemporary" for having the most number-one songs on the radio format for a female artist. Dion is the second best-selling female artist in the US during the Nielsen SoundScan, the 8th all-time best-performing top female artist in the United States, and the sixth all-time best-performing female soloist in Billboard 200 history. In 2003, she was honoured by the International Federation of the Phonographic Industry (IFPI) for selling over 50 million albums in Europe. In 2008, Dion was recognized as the Best-selling International Artist in South Africa. Life and career 1968–1989: Early life and career beginnings Dion was born in Charlemagne, Quebec, northeast of Montreal, the youngest of 14 children of Thérèse (née Tanguay, 1927–2020), a homemaker, and Adhémar Dion (1923–2003), a butcher, both of French-Canadian descent. She was raised a Roman Catholic in a poor but, by her own account, happy home in Charlemagne. Music had always been a major part of the Dion family, and she was named after the song "Céline", which French singer Hugues Aufray had recorded two years before her birth. On 13 August 1973, at the age of five, the young Céline made her first public appearance at her brother Michel's wedding, where she performed Christine Charbonneau's song "Du fil, des aiguilles et du coton". She continued to perform with her siblings in her parents' small piano bar called Le Vieux Baril, "The Old Barrel". From an early age, she had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, "I missed my family and my home, but I don't regret having lost my adolescence. I had one dream: I wanted to be a singer." As a child in Quebec, Dion participated in Girl Guide programs as a member of Girl Guides of Canada. At age 12, she collaborated with her mother and her brother Jacques to write and compose her first song, "Ce n'était qu'un rêve", whose title translates as "It Was Only a Dream" or "Nothing But A Dream". Her brother Michel sent the recording to music manager René Angélil, whose name he discovered on the back of a Ginette Reno album. Angélil was moved to tears by Dion's voice and decided to make her a star. In 1981, he mortgaged his home to fund her first record, La voix du bon Dieu, which later became a local No. 1 hit and made her an instant star in Quebec. Her popularity spread to other parts of the world when she competed in the 1982 Yamaha World Popular Song Festival in Tokyo, Japan, and won the musician's award for "Top Performer" as well as the gold medal for "Best Song" with "Tellement j'ai d'amour pour toi". By 1983, in addition to becoming the first Canadian artist to receive a gold record in France for the single "D'amour ou d'amitié" ("Of Love or of Friendship"), Dion had also won several Félix Awards, including "Best Female performer" and "Discovery of the Year". Further success came when she represented Switzerland in the 1988 Eurovision Song Contest with the song "Ne partez pas sans moi" and won the contest by a close margin in Dublin, Ireland. At age 18, after seeing a Michael Jackson performance, Dion told Angélil that she wanted to be a star like Jackson. Though confident in her talent, Angélil realized that her image needed to be changed for her to be marketed worldwide. She receded from the spotlight for a number of months, during which she underwent dental surgery to improve her appearance, and was sent to the École Berlitz in 1989 to polish her English. In 1989, during a concert on the Incognito tournée, she injured her voice. She consulted the otorhinolaryngologist William Gould, who gave her an ultimatum: have immediate surgery on her vocal cords or do not utilize them at all for three weeks. Dion chose the latter and underwent vocal training with William Riley. 1990–1992: Unison, Dion chante Plamondon, and Celine Dion Two years after she learned English, Dion made her debut into the Anglophone market with Unison (1990), the lead single having originally been recorded by Laura Branigan. She incorporated the help of many established musicians, including Vito Luprano and Canadian producer David Foster. The album was largely influenced by 1980s soft rock music that quickly found a niche within the adult contemporary radio format. Unison also hit the right notes with critics: Jim Faber of Entertainment Weekly wrote that her vocals were "tastefully unadorned", and that she never attempted to "bring off styles that are beyond her". Stephen Thomas Erlewine of AllMusic declared it "a fine, sophisticated American debut". Singles from the album included "(If There Was) Any Other Way", "The Last to Know", "Unison", and "Where Does My Heart Beat Now", a mid-tempo soft-rock ballad that made prominent use of the electric guitar. The latter became her first top-ten hit on the US Billboard Hot 100, peaking at number four. In 1991, Dion was a featured soloist on "Voices That Care", a tribute to American troops fighting in Operation Desert Storm. Her real international breakthrough came when she duetted with Peabo Bryson on the title track to Disney's animated film Beauty and the Beast (1991). It became her first top-ten hit in the UK and her second top-ten hit in the United States. The song earned its songwriters an Academy Award for Best Song and gave Dion her first Grammy Award for Best Pop Performance by a Duo or Group with Vocal. "Beauty and the Beast" served as the lead single from her 1992 self-titled album, which, like her debut, had a strong pop rock influence combined with elements of soul and classical music. Owing to the success of the lead-off single and her collaborations with David Foster and Diane Warren, the album was even more well-received commercially than Unison; it was certified diamond in Canada and double platinum in the US. The album's second single "If You Asked Me To" (a cover of Patti LaBelle's song from the 1989 movie Licence to Kill) became her first number-one single in Canada and peaked at number four on the US Billboard Hot 100. Also during this time, Dion released the Francophone album Dion chante Plamondon. The album consisted mostly of covers, but featured four new songs: "Des mots qui sonnent", "Je danse dans ma tête", "Quelqu'un que j'aime, quelqu'un qui m'aime", and "L'amour existe encore". It was originally released in Canada and France during the 1991–1992 period, then later received an international release in 1994, the first French Celine Dion album to do so. "Un garçon pas comme les autres (Ziggy)" became a smash hit in France, reaching No. 2 and being certified gold. In Quebec, the album was certified Gold the day it was released. By 1992, Unison, Céline Dion, and numerous high-profile media appearances had propelled Dion to superstardom in North America. She had achieved one of her main objectives: wedging her way into the Anglophone market and achieving fame. However, while she was experiencing rising success in the US, her French fans in Canada criticized her for neglecting them. She would later rebuff these criticisms at the 1991 Félix Awards show, where, after winning "English Artist of the Year", she openly refused to accept the award. She asserted that she was—and would always be—a French, not an English, artist. Apart from her commercial success, there were also changes in her personal life, as Angélil, who was 26 years her senior, transitioned from manager to lover. However, the relationship was kept a secret as they both feared that the public would find their relations inappropriate. 1993–1995: The Colour of My Love and D'eux In 1993, Dion announced her feelings for her manager by declaring him "the colour of [her] love" in the dedication section of her third English-language album The Colour of My Love. However, instead of criticizing their relationship as she had feared, fans embraced the couple. Eventually, Angélil and Dion married in an extravagant wedding ceremony on 17 December 1994, which was broadcast live on Canadian television. As with most of her catalogue, The Colour of My Love had over-riding themes of love and romance. It became her most successful record up to that point, selling more than six million copies in the US, two million in Canada, and peaking at No. 1 in many countries. The album also spawned Dion's first US, Canadian, and Australian No. 1 single "The Power of Love" (a remake of Jennifer Rush's 1985 hit), which would become her signature hit in various nations until she reached new career heights in the late 1990s. The single "When I Fall in Love", a duet with Clive Griffin, achieved moderate success on the US and Canadian charts and was nominated for two Grammy Awards, winning one. The Colour of My Love also became Dion's first major hit in Europe, particularly in the United Kingdom. Both the album and the single "Think Twice" simultaneously occupied the top of the British charts for five consecutive weeks. "Think Twice", which remained at No. 1 for seven weeks, eventually became the fourth single by a female artist to sell in excess of one million copies in the UK while the album was eventually certified five-times platinum for two million copies sold. Dion kept to her French roots and continued to release many Francophone recordings between each English record. Generally, they achieved more credibility than her English-language works. She released À l'Olympia, a live album that was recorded during one of her concerts at the Paris Olympia in 1994. It had one promotional single, a live version of "Calling You", which peaked at seventy-five on the French Singles Chart. She also recorded a bilingual version of "Petit Papa Noël" with Alvin and the Chipmunks for the 1994 holiday album A Very Merry Chipmunk. D'eux (also known as The French Album in the United States), was released in 1995, and it would go on to become the best-selling French-language album of all time. The album was mostly written and produced by Jean-Jacques Goldman, and amassed huge success with the singles "Pour que tu m'aimes encore" and "Je sais pas". "Pour que tu m'aimes encore" reached No. 1 in France and stayed at the top position for twelve weeks. It was later certified Platinum in France. The single reached the top ten in the UK and Ireland, a rare accomplishment for a French song. The second single off the album, "Je sais pas", reached No. 1 on the French Singles Chart as well and was certified Silver there. During the mid-1990s and onward, Dion's albums were generally constructed on the basis of melodramatic soft rock ballads, with sprinklings of up-tempo pop and rare forays into other genres. She collaborated with many renowned writers and producers such as Jim Steinman and David Foster, who helped her to develop a signature sound. While critical reviews fluctuated, her releases performed increasingly well on the international charts, and in 1996, she won the World Music Award for "World's Best-selling Female Recording Artist of the Year" for the third time. By the mid-1990s, she had established herself as one of the best-selling artists in the world. 1996–1999: Falling into You, Let's Talk About Love, and S'il suffisait d'aimer In the five years since her debut English language album in 1990, Billboard stated that she had already sold 40 million albums worldwide. Falling into You (1996), Dion's fourth English-language album, presented the singer at the height of her popularity and showed a further progression of her music. In an attempt to reach a wider audience, the album combined many elements, such as complex orchestral sounds, African chanting, and elaborate musical effects. Additionally, instruments like the violin, Spanish guitar, trombone, the cavaquinho, and saxophone created a new sound. The singles encompassed a variety of musical styles. The title track "Falling into You" and "River Deep – Mountain High" (a Tina Turner cover) made prominent use of percussion instruments; "It's All Coming Back to Me Now" (produced by its writer Jim Steinman) and a remake of Eric Carmen's "All by Myself" maintained a soft-rock atmosphere, combined with the classical sound of the piano; and the No. 1 single "Because You Loved Me", which was written by Diane Warren, was a pop ballad that served as the theme to the 1996 film Up Close and Personal. Falling into You garnered career-best reviews for Dion. While Dan Leroy wrote that it was not very different from her previous work, and Stephen Holden of The New York Times and Natalie Nichols of the Los Angeles Times wrote that the album was formulaic, other critics, such as Chuck Eddy of Entertainment Weekly, Stephen Thomas Erlewine of AllMusic, and Daniel Durchholz, lavished the album as "compelling", "passionate", "stylish", "elegant", and "remarkably well-crafted". Falling into You became Dion's most critically and commercially successful album: it topped the charts in many countries and became one of the best-selling albums of all time. In 2013, CBC Music ranked Falling into You 33rd in their list of the 100 greatest Canadian albums ever. In the United States, the album reached No. 1, and was later certified 11× Platinum for over 11 million copies shipped. In Canada, the album was certified diamond for over one million copies shipped. The IFPI certified Falling into You 9× Platinum, an accolade that has been given to only two other albums in history, with one of the two being Dion's own album, Let's Talk About Love. The album also won Grammy Awards for Best Pop Album and the academy's highest honour, Album of the Year. Dion was asked to perform "The Power of the Dream" at the opening ceremony of the 1996 Atlanta Olympic Games. In March 1996, she launched the Falling into You Tour in support of her new album, performing concerts around the world for over a year. She followed Falling into You with Let's Talk About Love (1997), which was publicized as its sequel. The recording process took place in London, New York City, and Los Angeles, and featured a host of special guests, such as Barbra Streisand on "Tell Him"; the Bee Gees on "Immortality"; and tenor Luciano Pavarotti on "I Hate You Then I Love You". Other musicians included Carole King, Sir George Martin, Bryan Adams and Jamaican singer Diana King, who added a reggae tinge to "Treat Her Like a Lady". Let's Talk About Love was another major success, reaching No. 1 all over the world, attaining platinum status in twenty-four sales territories, and becoming the fastest selling album of her career. In the United States, the album topped the chart in its seventh week of release, and was later certified 10× Platinum in the US for over 10 million copies shipped. In Canada, the album sold 230,212 copies in its first week of release, which remains a record. It was eventually certified diamond in Canada for over one million copies shipped. The most successful single from the album was the classically influenced ballad "My Heart Will Go On", which was written and composed by James Horner and Will Jennings, and produced by Horner and Walter Afanasieff. Serving as the love theme for the 1997 blockbuster film Titanic, the song topped the charts across the world and became Dion's signature song. Horner and Jennings won the Academy Award and Golden Globe for Best Original Song, while Dion herself garnered two Grammy Awards for Best Female Pop Vocal Performance and the most coveted, Record of the Year, (the song itself won four awards, but two were presented to the songwriters). "My Heart Will Go On" and "Think Twice" made her the only female artist in the UK to have two singles to sell more than a million copies. In support of her album, she embarked on the Let's Talk About Love Tour between 1998 and 1999. Dion ended the 1990s with three more extremely successful albums: the Christmas album These Are Special Times (1998), the French-language album, S'il suffisait d'aimer, and the compilation album All the Way... A Decade of Song (1999). On These Are Special Times, she co-wrote the song "Don't Save It All for Christmas Day" along with Ric Wake and Peter Zizzo. The album was her most classically influenced yet, with orchestral arrangements found on virtually every track. The album featured the single "I'm Your Angel" (a duet with R. Kelly), which became her fourth US No. 1 single, and a smash hit across the world. The album's second single "The Prayer" (a duet with Andrea Bocelli) served as the soundtrack of the 1998 film Quest for Camelot and won a Golden Globe Award for Best Original Song. All the Way... A Decade of Song drew together her most successful hits coupled with seven new songs, including the lead-off single "That's the Way It Is", a cover of Roberta Flack's "The First Time Ever I Saw Your Face", and "All the Way", a duet with Frank Sinatra. All the Way became one of the best-selling compilation albums of all time, reaching No. 1 in the United States for three weeks. The album was later certified 7x Platinum in the US for 7 million copies shipped. It also topped the charts in the UK, Canada, and Australia. Her last French-language studio album of the 1990s, S'il suffisait d'aimer, was very successful as well, topping the charts in every major French-speaking country, including France, Switzerland, the Wallonia region of Belgium, and Canada. In France, the album was certified diamond, selling 1.5 million copies. By the end of the 1990s, Dion had sold more than 130 million records worldwide, and had won a slew of industry awards. Her status as one of the music industry's biggest pop divas was further solidified when she was asked to perform on VH1's Divas Live special in 1998, with superstars Aretha Franklin, Gloria Estefan, Shania Twain, and Mariah Carey. That year, she also received two of the highest Canadian honours: "Officer of the Order of Canada for Outstanding Contribution to the World of Contemporary Music" and "Officer of the National Order of Quebec". A year later, she was inducted into the Canadian Broadcast Hall of Fame, and was honoured with a star on Canada's Walk of Fame. Starting from the mid-1990s, the pop rock influence that was more noticeable in her earlier releases was replaced by a more mature feel. Additionally, the recurring theme of "love" dominated most of her releases, which led to some critics dismissing her music as banal. Other critics, like Elysa Gardner and Jose F. Promis, praised her voice during this period, describing it as a "technical marvel". Steve Dollar, in his review of These Are Special Times, opined that Dion was a "vocal Olympian for whom there ain't no mountain—or scale—high enough". 2000–2003: Hiatus, A New Day Has Come, One Heart, and 1 fille & 4 types After releasing and promoting thirteen albums during the 1990s, Dion stated that she needed to settle down, and announced on her latest album All the Way... A Decade of Song, that she needed to take a step back from the spotlight and enjoy life. Angélil's diagnosis with esophageal cancer also prompted her to hiatus. While on break, she was unable to escape the spotlight. In 2000, the National Enquirer published a false story about the singer. Brandishing a picture of Dion and her husband, the magazine misquoted her, printing the headline, "Celine — 'I'm Pregnant With Twins!'" She later sued the magazine for more than $20million. The editors of the Enquirer printed an apology and a full retraction to her in the next issue, and donated money to the American Cancer Society in honour of her and her husband. A year after the incident, after undergoing fertility treatments, she gave birth to a son, René-Charles Dion Angélil, on 25 January 2001, in Florida. Following the 11 September attacks, Dion returned to the music scene, and in a televised performance sang "God Bless America" at the benefit concert America: A Tribute to Heroes. Chuck Taylor of Billboard wrote, "the performance ... brings to mind what has made her one of the celebrated vocalists of our time: the ability to render emotion that shakes the soul. Affecting, meaningful, and filled with grace, this is a musical reflection to share with all of us still searching for ways to cope." She performed it again in 2003 during pregame festivities for Super Bowl XXXVII in San Diego. In December 2001, she published her autobiography My Story, My Dream which chronicled her rags-to-riches story. Dion ended her three-year sabbatical from the music industry with the aptly titled album A New Day Has Come, released in March 2002. The album was her most personal yet, with songs focusing on her motherhood and maturation as a woman such as "A New Day Has Come", and "Goodbye's (The Saddest Word)". She stated: "becoming a mother makes you a grown-up." She stated, "A New Day Has Come, for Rene, for me, is the baby. It has everything to do with the baby ... That song "A New Day Has Come" represents very well the mood I'm feeling right now. It represents the whole album." A New Day Has Come debuted at No. 1 in more than 17 countries, including the United Kingdom and Canada. In the United States, the album debuted at No. 1 on the Billboard 200, with first-week sales of 527,000 copies; marking her first No. 1 debut on the chart, as well as the highest debut sales week of her career in the US. It was eventually certified 3× Platinum in the United States, and 6× Platinum in Canada. While the album was commercially successful, critical reviews suggested that it was "forgettable" and the lyrics were "lifeless". Both Rob Sheffield of Rolling Stone magazine, and Ken Tucker of Entertainment Weekly, stated that Dion's music had not developed much during her break, and classed her material as trite and mediocre. Sal Cinquemani of Slant Magazine called the album "a lengthy collection of drippy, gooey pop fluffer-nutter". The first single off the album, A New Day Has Come peaked at No.22 on the Billboard Hot 100 charts, being an airplay-only release. On the Hot Adult Contemporary Tracks, however, the song spent 21 consecutive weeks at No. 1, breaking the record for the longest span at the top. The previous record holders were Phil Collins' You'll Be in My Heart and Dion's own Because You Loved Me, both of which lasted nineteen weeks at No. 1. The album's next single, "I'm Alive", was featured on the soundtrack for Stuart Little 2 (2002), and was ranked number 2 on the European Hot 100 Singles, and number 6 on the Hot Adult Contemporary Tracks in the United States. During 2002, she performed for many benefit concerts, including her second appearance on VH1 Divas Live, a concert to benefit the VH1 Save The Music Foundation, alongside Cher, Anastacia, Dixie Chicks, Mary J. Blige, Whitney Houston, Cyndi Lauper, Shakira, and Stevie Nicks. In conjunction with an endorsement deal with Chrysler, she released One Heart (2003), an album that represented her appreciation for life. The album largely consisted of pop and dance music—a deviation from the soaring, melodramatic ballads, for which she had been known. Although the album achieved moderate success, One Heart was met with mixed criticism, and words such as "predictable" and "banal" appeared even in the most lenient reviews. A cover of the 1989 Cyndi Lauper hit "I Drove All Night", released to launch her advertising campaign with Chrysler, incorporated elements of dance-pop and rock and roll. The advertising deal was met with criticism, with some stating that Dion was trying to cater to her sponsors. After One Heart, she released her next English-language studio album, Miracle (2004). Miracle was a multimedia project conceived by Dion and Australian photographer Anne Geddes and had a theme centring on babies and motherhood. The album was filled with lullabies and other songs of maternal love and inspiration, including covers of Louis Armstrong's "What a Wonderful World" and John Lennon's "Beautiful Boy". The reviews for Miracle were mixed. Stephen Thomas Erlewine of Allmusic.com gave the album three of out five stars, stating, "The worst you can say about the record is that there are no surprises, but the audience for this record doesn't want surprises; they want comfort, whether it arrives in polished music or artsy photos of newborns, and Miracle provides both, which makes it appealing for those expectant or new mothers in Dion's audience." Chuck Taylor of Billboard magazine wrote that the single "Beautiful Boy" was "an unexpected gem" and called Dion "a timeless, enormously versatile artist", Chuck Arnold of People Magazine, however, labelled the album as excessively sentimental, while Nancy Miller of Entertainment Weekly opined that "the whole earth-mama act is just opportunism, reborn". Miracle debuted at No. 4 on the Billboard 200 chart and No. 1 in Canada and was eventually certified platinum by the RIAA. The francophone album 1 fille & 4 types (1 Girl & 4 Guys), released in October 2003, fared better than her previous two releases and showed her trying to distance herself from the "diva" image. She recruited Jean-Jacques Goldman, Gildas Arzel, Eric Benzi, and Jacques Veneruso, with whom she had previously worked on two of her best-selling French albums S'il suffisait d'aimer and D'eux. Labeled "the album of pleasure" by Dion herself, the album cover showed her in a simple and relaxed manner, contrary to the choreographed poses usually found on her album covers. The album achieved widespread commercial success in France, Canada, and Belgium where it reached No. 1. In France, the album debuted at No. 1 and was later certified 2× platinum after selling over 700,000 copies. Critic Stephen Erlewine of AllMusic wrote that Dion's vocals were "back at top of their game" and that she was "getting back to pop basics and performing at a level unheard in a while". Though her albums were commercially successful, they did not achieve the sales or the reception of her previous works. Her songs received less airplay as radio became less embracing of balladeers like Dion, Carey, and Houston, and was focused on more up-tempo, Urban/Hip-hop songs. By 2004, Dion had accumulated sales of more than 175 million albums worldwide and received the Chopard Diamond Award from the World Music Awards for her achievements. According to the official World Music Awards website, the award is rare; it is "not presented every year" and an artist can be presented with the award only for selling "over 100 million albums during their career". 2003–2007: A New Day... In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza, A New Day..., at The Colosseum at Caesars Palace, Las Vegas. This move was generally seen as risky, but journalist Miriam Nunzio wrote that it was "one of the smartest business decisions in years by any major recording artist". Dion conceived the show after seeing O by Franco Dragone during her break from recording, and it premiered on 25 March 2003, in a 4,000-seat arena specifically designed for her show and modelled after the Roman Colosseum. Many stars attended the opening night including Dick Clark, Alan Thicke, Kathy Griffin, Lance Bass, and Justin Timberlake, who hosted the television special. The show, directed by Dragone and choreographed by the renowned Mia Michaels, was a combination of dance, music, and visual effects. It included Dion performing her biggest hits against an array of dancers and special effects. Reviewer Mike Weatherford felt that, at first, Dion was not as relaxed as she should be, and at times, it was hard to find the singer among the excessive stage ornamentation and dancers. However, he noted that the show had become more enjoyable over the course of its run, because of her improved stage-presence and simplified costumes. The show was well-received by audiences, despite the complaints of expensive tickets; it routinely sold out until its end in late 2007. Ticket prices averaged $135.33. According to Pollstar, Dion sold 322,000 tickets and grossed US$43.9 million in the first half of 2005, and by July 2005, she had sold out 315 out of 384 shows. By the end of 2005, she grossed more than US$76 million, placing sixth on Billboard's Money Makers list for 2005. Because of the show's success, her contract was extended into 2007 for an undisclosed sum. On 5 January 2007, it was announced that the show would end on 15 December 2007, with tickets for the period after October 2007 having gone on sale from 1 March. According to Billboard, A New Day... is the most successful residency of all time, grossing over US$385 million ($ million in dollars) and drawing nearly three million people to 717 shows. The Live in Las Vegas: A New Day... DVD was released on 10 December 2007, in Europe and the following day in North America. 2007–2010: D'elles, Taking Chances, and Taking Chances Tour On 21 May 2007, Dion released the French-language album D'elles (About Them), which debuted at the top of the Canadian album charts, selling 72,200 copies in its first week. It marked her tenth No. 1 album in the SoundScan era, and her eighth to debut at the top position. In Canada, the album has been certified 2× platinum, and within the first month had already shipped half a million units worldwide. D'Elles also reached No. 1 in France and Belgium. The first single "Et s'il n'en restait qu'une (je serais celle-là)" (meaning "And If There Was Only One Woman Left (I Would Be That One)") debuted at the top of the French singles chart a month earlier. Later that same year, she released the English album Taking Chances on 12 November in Europe, and 13 November in North America. Her first English studio album since 2003's One Heart, it featured pop, R&B, and rock inspired music. For this album, she collaborated with John Shanks and ex-Evanescence guitarist Ben Moody, as well as Kristian Lundin, Peer Åström, Linda Perry, Japanese singer Yuna Ito, and R&B singer-songwriter Ne-Yo. Dion stated, "I think this album represents a positive evolution in my career ... I'm feeling strong, maybe a little gutsier than in the past, and just as passionate about music and life as I ever was." She launched her year-long worldwide Taking Chances Tour on 14 February 2008, in South Africa, performing 132 dates in stadiums and arenas across five continents. The Taking Chances Tour was a great success in the United States, reaching the No. 1 spot on the Billboard Boxscore, having sold out every concert in the US and Canada. In addition, she appeared on Idol Gives Back for a second year in a row. Dion was nominated for six Juno Awards in 2008, adding to her 53 previous nominations (an all-time record). Her nominations included Artist of the Year, Pop Album of the Year (for Taking Chances), Francophone Album of the Year (for D'elles) and Album of the Year (for both Taking Chances and D'elles). The following year, she was nominated for 3 Juno Awards including the Fan Choice Award, Song of the Year (for Taking Chances), and Music DVD of the Year (for Live in Las Vegas — A New Day...) On 22 August 2008, Dion presented a free outdoor concert, mostly in French, on the Plains of Abraham, in Québec City, Canada, for the 400th anniversary of Québec City. The celebration gathered approximately 490,000 people. The concert, called Céline sur les Plaines, was released on DVD on 11 November 2008, in Québec and was released on 20 May 2009, in France. Late October 2008 saw the worldwide release of a comprehensive English-language greatest hits album, My Love: Essential Collection. In May 2009, Dion was named the 20th best-selling artist of the decade and the second-best-selling female artist of the decade in the United States, selling an estimated 17.57 million copies of her albums there since 2000. In June 2009, Forbes reported that she earned $100 million during 2008. In December 2009, Pollstar announced that she was the best-selling solo touring act of the decade and the second-best-selling touring act of the decade, behind only the Dave Matthews Band. she grossed $522.2 million during the decade, a large portion of that sum coming from her five-year residency at Caesars Palace. On 17 February 2010, Dion released into theatres a documentary film about her Taking Chances Tour, titled, Celine: Through the Eyes of the World. The documentary shows behind-the-scenes footage of her both onstage and offstage, along with footage of her with her family as they travelled the world with her. The distributor is the Sony Pictures subsidiary, Hot Ticket. The film was later released on Blu-ray and DVD on 4 May 2010, along with the CD/DVD, Taking Chances World Tour: The Concert. At the 52nd Grammy Awards in February 2010, Dion joined Carrie Underwood, Usher, Jennifer Hudson, and Smokey Robinson to perform the song "Earth Song" during the 3-D Michael Jackson tribute. In January 2010, The Los Angeles Times presented its annual list of the top ten largest earners of the year, revealing that Dion took the top spot for the entire decade, with $US747.9 million in total revenue from 2000–2009. The largest haul came from ticket sales, totalling $522.2 million. Additionally, she was named "Artist of the Decade" in her native Canadian province of Québec, announced by the Montréal-based newspaper, Le Journal de Québec in 2009 December. A public online survey asked responders to vote for whom they believe deserved the above-mentioned accolade. Furthermore, in a May 2010 Harris Poll, Dion was named the most popular musician in the United States, ahead of U2, Elvis Presley, and The Beatles while factoring in gender, political affiliations, geographic region of residence, and income. Specifically, she was the most popular musician in the female demographic, as well as among all Democrats, those who live in the eastern United States and southern United States, and those who have incomes between US$35k and US$74.9k. In September 2010, she released the single "Voler", a duet with French singer Michel Sardou. The song was later included on Sardou's album. In addition, it was announced in October 2010 that Dion wrote and composed a new song for Canadian singer, Marc Dupré entitled "Entre deux mondes". 2011–2014: Celine, Sans attendre, and Loved Me Back to Life In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. In 2018, Billboard stated her residency Celine is the second most successful residency of all time. By the end of 2011, Dion has sold 331,000 albums (despite not releasing any studio album since 2007) and 956,000 digital tracks in the United States. For a record sixth time, she performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, she appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, she released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, she made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. She began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. In June 2013, Dion co-produced the show titled "Voices" by Véronic DiCaire at the Bally’s Hotel & Casino’s Jubilee Theatre and was presented 145 times up until 2015. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Céline une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. 2014–present: Husband's death, Encore un soir, Courage, and return to Vegas On 13 August 2014, Dion announced the indefinite postponement of all her show business activities, including her concert residency at Caesars Palace in Las Vegas, and the cancellation of her Asia Tour, because of the worsening of her husband's health after he underwent the removal of a cancerous tumor in December 2013. However, on 20 March 2015, she announced that she would be returning to The Colosseum at Caesars Palace in late August 2015. On 14 January 2016, she cancelled the rest of the January performances due to her husband's and her brother's death from cancer. Dion resumed the residency on 23 February to a sold-out crowd and rave reviews. In October 2015, Dion announced on social media that she had begun working on a new French album, posting a photo by the side of Algerian singer Zaho. Dion's French single, "Encore un soir", was released on 24 May 2016. On 20 May, she released a cover of Queen's song "The Show Must Go On", featuring Lindsey Stirling on violin. She performed "The Show Must Go On" at the 2016 Billboard Music Awards on 22 May, and received the Billboard Icon Award (presented to her by her son, René-Charles Angélil) in recognition of her career spanning over three decades. The singer's new French album, Encore un soir, was released on 26 August 2016. It features fifteen tracks performed in French and, according to the singer, has a personal choice of the songs – more uplifting lyrics were chosen. Encore un soir topped the charts in France, Canada, Belgium and Switzerland, and was certified Diamond in France, 2× Platinum in Canada and Platinum in Belgium and Switzerland. It has sold over 1.5 million copies worldwide. In 2016 and 2017, Dion toured Europe and Canada with two sold-out concert tours. On 9 September 2016, she released "Recovering", a song written for her by Pink after Dion's husband René Angélil died in January 2016. Dion also recorded "How Does a Moment Last Forever" for the Beauty and the Beast: Original Motion Picture Soundtrack, released in March 2017. Her compilation, Un peu de nous topped the chart in France in July and August 2017. On 3 May 2018, she released the single "Ashes" from the film Deadpool 2. The remix version of the song topped the US Dance Club Songs chart in July 2018. From June to August 2018, she toured the Asia-Pacific region and grossed $56.5 million from 22 shows. On 24 September 2018, she announced the end of her Las Vegas residency Celine, with the final date set for 8 June 2019. She is working on a new English album. In January 2019, she performed "A Change Is Gonna Come" at the "Aretha! A Grammy Celebration for the Queen of Soul" Franklin's tribute concert, to be broadcast in March 2019. In March 2019, she was one of 11 singers from Quebec, alongside Ginette Reno, Diane Dufresne, Isabelle Boulay, Luce Dufault, Louise Forestier, Laurence Jalbert, Catherine Major, Ariane Moffatt, Marie Denise Pelletier, and Marie-Élaine Thibert, who participated in a supergroup recording of Renée Claude's 1971 single "Tu trouveras la paix" after Claude's diagnosis with Alzheimer's disease was announced. On 3 April 2019, during a Facebook Live event, Dion announced her 2019/2020 Courage World Tour, beginning in Quebec City on 18 September 2019. She also announced a new English language album of the same name, released in November 2019. On 18 September 2019, Dion released three songs, "Lying Down", "Courage", and "Imperfections" from her upcoming album, Courage. On 26 February 2020, Dion released two songs as exclusive Spotify singles: an acoustic version of Imperfections, and a cover of Chris Isaak's Wicked Game. Isaak joined Dion and sang vocals on the track. On 10 June 2020, Dion announced that her Courage World Tour will kick off again in 2021, after the tour was postponed due to the COVID-19 pandemic. On 21 May 2021, it was announced Dion would return to Vegas, in November of the same year, for a limited-run installment of ten dates in collaboration with Resorts World Las Vegas. Billboard listed Dion as the third top paid musician of 2020 (second by female artist), with total of earnings of $17.5 million. On 15 January 2022, a statement posted to Dion's website and social media accounts announced that the U.S. and Canadian concert dates for March-April 2022 were canceled because of “severe and persistent muscle spasms” that are preventing Dion from performing onstage. Artistry Influences Dion cites idols as varied as Michael Jackson, Aretha Franklin, Charles Aznavour, Carole King, Anne Murray, Barbra Streisand, and the Bee Gees, all of whom she would eventually collaborate with. Her music has been influenced by numerous genres, including pop, rock, gospel, R&B, and soul, and her lyrics focus on themes of poverty, world hunger, and spirituality, with an emphasis on love and romance. After the birth of her first child, her work increasingly focused on maternal love. Musical style Dion has faced considerable criticism from critics, who state that her music often retreats behind pop and soul conventions, and is marked by excessive sentimentality. According to Keith Harris of Rolling Stone magazine, "[Dion's] sentimentality is bombastic and defiant rather than demure and retiring ... [she] stands at the end of the chain of drastic devolution that goes Aretha–Whitney–Mariah. Far from being an aberration, Dion actually stands as a symbol of a certain kind of pop sensibility—bigger is better, too much is never enough, and the riper the emotion the more true." Her francophone releases, by contrast, tend to be deeper and more varied than her English releases, and consequently have achieved more credibility. Critics have stated that Dion's involvement in the production aspect of her music is fundamentally lacking, which results in her work being overproduced and impersonal. However, coming from a family in which all of her siblings were musicians, she dabbled in learning how to play instruments like piano and guitar, and practised with a Fender Stratocaster during the recording sessions for her album Falling into You. Occasionally, Dion has contributed to the writing of a handful of her English and French songs, as well as writing a few songs for other artists such as Marc Dupre. Additionally, as her career progressed, she found herself taking charge in the production of her albums. On her first English album, which she recorded before she had a firm command of the English language, she expressed disapproval, which could have been avoided if she had assumed more creative input. By the time she released her second English album Celine Dion, she had assumed more control of the production and recording process, hoping to dispel earlier criticisms. She stated, "On the second album I said, 'Well, I have the choice to be afraid one more time and not be 100% happy, or not be afraid and be part of this album.' This is my album." Besides her contributions to some of her early French albums, Dion wrote a few of the songs on Let's Talk About Love (1997) and These Are Special Times (1998). She is often the subject of media ridicule and parody and is frequently impersonated on shows such as MADtv, Saturday Night Live, South Park, Royal Canadian Air Farce, and This Hour Has 22 Minutes for her strong accent and onstage gesticulations. However, she has stated that she is unaffected by the comments, and is flattered that people take the time to impersonate her. She even invited Ana Gasteyer, who parodied her on SNL, to appear onstage during one of her performances in New York City. While she is rarely politically outspoken, in 2005 following the Hurricane Katrina disaster, Dion appeared on Larry King Live and tearfully criticized the US government's slow response in aiding the victims of the hurricane: "There's people still there waiting to be rescued. To me that is not acceptable ... How can it be so easy to send planes in another country to kill everybody in a second and destroy lives. We need to serve our country." After her interview, she stated, "When I do interviews with Larry King or the big TV shows like that, they put you on the spot, which is very difficult. I do have an opinion, but I'm a singer. I'm not a politician." Voice and timbre Dion once claimed to be a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, Kent Nagano, maestro of the Munich Symphony Orchestra, remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the recording industry during the 1990s, alongside other female artists, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazine's list of "The 100 Outstanding Pop Vocalists". Dion is often compared to Houston and Carey for her vocal style, and to her idol Barbra Streisand for her voice. She is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn." Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Libération, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, she is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that she uses: the Québécois, the French, and the American. Her self-titled 1992 album was promoted with the slogan "Remember the name because you'll never forget the voice." Legacy Dion is regarded as one of pop music's most influential vocalists. She has been referred to as the "Queen of Power Ballads" by the media.. Billboard called Dion the "Queen of Pop". Her music and vocal styling, alongside that of Whitney Houston and Mariah Carey, have been said to shape how the bulk of modern female pop vocalists sing. These three artists have been widely credited with reviving the power ballad, and in doing so reshaping the adult contemporary radio format, making it one of the most popular formats of the 1990s and early 2000s. In 2002, Billboard named her as the "Best-selling contemporary female artist in history". According to producer, musician, and former American Idol judge Randy Jackson, Dion, Houston, and Carey are the voices of the modern era. Music critic and Dion biographer Carl Wilson notes that her "fame and influence is also renewed and expressed regularly these days by American Idol, the largest mass musical phenomenon of the past decade, where Celine's stood solidly in its pantheon of singers for young people to emulate". Many contestants on the countless televised talent competitions that have risen at the turn of the millennium often emulate Dion, Houston and Carey and cite them as idols. MTV also praised Dion by saying: "Céline Dion was better than almost anyone at capitalizing on pop’s ability to articulate feelings in sensational, over-the-top ways." Numerous artists have either mentioned Dion as a major influence or as one of their favourite singers including: Britney Spears, Rihanna, Adele, Josh Groban, Delta Goodrem, Leona Lewis, Jennifer Hudson, Vanessa Hudgens, Kelly Clarkson, Perrie Edwards, Loren Allred, Brazilian singer Wanessa Camargo, Ariana Grande, Sam Smith, Frank Ocean, Ava Max, Charlotte Cardin, and V (from BTS) among many others. Country singer Martina McBride is widely heralded by the press as the Celine Dion of Country music. Many artists have also praised Dion's voice, singing ability or expressed an interest in working with her including Met Opera conductor and musical director Yannick Nézet-Séguin, Beyoncé, Carlos Santana, Elton John, OneRepublic, Coldplay, Sharon Osbourne, Nicole Scherzinger, Ne-Yo, Carole King, Barbra Streisand, Luciano Pavarotti, Bee Gees, Sir George Martin, Justin Bieber, Jean-Jacques Goldman, Drake and Cher. Timbaland stated "Celine has such a beautiful, mesmerizing voice. She is so talented. I think we could create something that is a classic like she is already." Josh Groban remarked "She's a powerhouse. In this day and age, when more and more studio-produced, tiny-tiny voices are being rewarded ... she has this extraordinary instrument." According to Diane Warren, "Celine is the best singer by far of her generation", an opinion shared by Quincy Jones, Tommy Mottola, and David Foster. Moreover, Shania Twain and Jennifer Lopez have praised her dynamic stage presence, with Jennifer Lopez commenting on American Idol: "Celine gets on stage, she owns the stage, she runs all over that stage, she stops that stage." Leona Lewis is also a huge fan of Céline Dion saying "Celine is someone I aspire to be like in every way. "Gosh – I can't wait. I'm in the middle of picking out dresses at the moment. Celine is definitely one of my heroes. She is amazing." American singer and actress Lea Michelle said that she listened to Céline Dion's music while in the process of making her sophomore album 'Places' and cited her as one of her vocal influences. Godmother of Soul Patti LaBelle called Dion as one of the greatest singers ever. Pop singer Kelly Clarkson also praised Dion's vocal ability saying: "she has two sets of lungs when she sings." and also called her the most gifted vocalist on the planet. Dion holds the Guiness World Record for the most Juno Awards won for Album Of The Year (tied with Michael Buble & Arcade Fire). She won 3 out of the 13 nominations she received in the category throughout her career. Dion is the 3rd most decorated artist in Juno Awards history, winning 20 out of the 75 total nominations ever, becoming the most nominated artist in the awards history as well. In 1997-1998, Dion sold more than 60 million albums, and was estimated to sell a record once every 1.2 seconds. In 2017, Dion broke records across the UK as the highest grossing artist at each UK venue where she performed which included dates at the O2 Arena in London, Leeds First Direct Arena, Birmingham’s Barclaycard Arena and the SSE Hydro in Glasgow. John Meglen, president and co-CEO, Concerts West commended her by saying: "She really is the voice of our lifetime." In 2018, there were over 300,000 Taiwanese fans that clambered for the 20,000 tickets available for Célines first concert ever in Taiwan which caused the system to lag for 30 minutes. The demand caused them to add two additional shows eventually. Cultural impact In Francophone music industry On a cultural level, Dion is credited for introducing francophone music to many non-francophone countries around the globe. Her albums D'eux and S'il suffisait d'aimer remain the best selling francophone albums in history, gaining unprecedented success in non-Francophone markets such as the United Kingdom, Poland, Netherlands, Portugal, Greece, Austria, Japan, and New Zealand. According to RFI Musique, she "has done her bit for French music over the years, assuring the success of French songs which would probably never have got beyond Francophone borders without her ... Without Celine, French record sales would be dramatically lower!" In May 2008, she was awarded France's highest award, as Knight of the Legion of Honour by President of France Nicolas Sarkozy. Sarkozy praised Dion and stated: "France thanks you because your talent and success have contributed to the influence of the French language outside our borders". In Las Vegas strip She is also credited for both revitalizing and revolutionizing the entertainment scene in Las Vegas with the gargantuan successes of her residencies there. She signed a multi-million dollar deal worthed $100 million to do a residency in Vegas and is considered one of the most lucrative and risky in the touring industry. Billboard credits Dion as the one who pioneered modern residencies saying: "Since Dion's debut, hundreds of artists have tried their hand at Vegas residencies, including, most recently, Lady Gaga, Bruno Mars, Usher, Luke Bryan, Katy Perry, Rod Stewart and Sting. Once considered the domain of artists long past their peak, today's Las Vegas residency shows are big business, generating millions in sales." Moreover, Billboard also said: "She changed history and she completely changed Las Vegas," said Nelson, who notes the new residencies being announced for artists like Cardi B, Christina Aguilera and Jennifer Lopez aren't really at the same production level or scale of what Dion created with her husband René Angélil, as well as Meglen, Nelson and former AEG CEO Tim Leiweke." Dion is popularly referred as the reigning "Queen of Las Vegas" by various media outlets for her impact and legacy in the city. According to Gary Bongiovanni, president and editor-in-chief of Pollstar, "Celine redefined what artists can do in Las Vegas, helping to make it arguably the busiest entertainment city in the world." Kurt Melien, vice-president of entertainment at Caesar's Palace stated "Celine was a pioneer without question ... Twenty years ago, we couldn't have got someone the stature of Britney Spears to appear in Vegas. Stars likes her would never have considered it if Celine hadn't paved the way. She changed the face of modern Vegas." The Guardian listed Dion's Vegas residency as one of the 50 gigs that changed music, crediting her as the one who revived it, further saying: "it was Céline Dion who turned Caesars into the stage for a glorious pop comeback. Her initial five-year run was followed by a further eight years – and prompted copycat turns by Britney Spears, Pink and Katy Perry. In the economy Regarding her financial impact on Las Vegas, Stephen Brown, director of the Centre for Business and Economic Research in Las Vegas, commented: "People will come to the city just for her and they will spend money and as a consequence, she has an outsized impact on the economy", then adding "Bigger than Elvis, Sinatra and Liberace put together? Definitely." Estimations indicate that Dion's show will create up to 7,000 indirect jobs and around $114 million worth of new economic activity in each of the three years for which she has been contracted. In businesses Forbes also discussed how entrepreneurs can reclaim the power in their business by being like Céline Dion as an example saying: "Well, remember back in 2017 when Dion launched her handbag line? During a press conference, she admitted her late manager (and husband) had always handled everything for her. Every aspect of her shows was pre-decided; every move, appearance and interview was programmed in advance. She just showed up and executed (which she did brilliantly). At the end of her handbag launch press release, she said "Now . . . I'm the boss.” Starting right then and there, she’d be the one calling the shots for her shows, her kids, her handbags and everything else that mattered to her. She was going to do things her way." In Fashion Celine Dion has received various acclaims from fashion critics for reinventing her fashion style over the years. The Guardian called her "The Joyous New Queen of Fashion". Harper's Bazaar also praised Dion for being an ultimate fashion risk-taker and called her a "Fashion Chameleon". Billboard dubbed her as "Streetwear Icon" after recapping the global icon's style evolution through the years. Vogue named her as one of music's most exuberant dressers, beloved as much for her glorious voice as her extravagant sense of style. Tatler discussed in an article how Cardi B might be the next Céline Dion of Paris Fashion Week, proving that Céline is the standard for the occasion. Fashion stylist and image architect Law Roach praised Celine Dion, calling her "The Queen of Camp" & "The Queen of Glitter & Sequins". Dion further cemented her name in the fashion world by wearing the reverse tuxedo at 1999 Academy Awards, which became one of the most talked ensembles of that time. Vogue also listed her iconic 1999 reverse tuxedo as one of the most controversial looks of all time saying it was undeniably the highlight of the year. W also listed the iconic ensemble as one of the most memorable dresses of all time. In February 2020, Sergio Guadarrama, a contestant of Project Runway, copied the idea of reverse tuxedo and claimed it was his original idea and had even claimed that he had no idea about the iconic tuxedo, which left the fans of the show disappointed. Breaking music barriers Vice discussed how Dion's music made impact in Nigerian culture, saying: "By the 2000s, Celine Dion was basically the queen of Nigerian airwaves. It was impossible to watch TV or listen to the radio without hearing her music – either on adverts, or in Nollywood films featuring heartthrobs like Genevieve Nnaji and Ramsey Nouah." Billboard also discussed how Dion’s appearance at Jamaica Jazz & Blues changed the festival’s future. According to Walter Elmore, CEO of Art of Music Productions said Dion is by far the most expensive artist he has ever booked, further saying: “I have already received calls from the management of several major US artists who want to perform here next year because they heard Celine’s comments about our show’s production quality,” Elmore said. “Her performance confirms that we can bring the biggest artists on the planet to our little island.” In 2012, Dion visited Jamaica for the very first time which broke attendance records and caused traffic congestion around the concert venue. Vice discussed how Dion's music has been constant in dancehall clubs for decades, as many Jamaican dancehall artists cover her songs and remixing her ballads into anthems of dance hall. Further adding: "Several current dancehall musicians continue to use utilize Dion’s tunes with the addition of upbeat guitars, pan flutes, and backbeat shuffles that transform the music for consumption by dancehall fans." Being referenced in songs The Canadian comedy music group The Arrogant Worms released an album called Dirt in 1999 which contained a song called "Celine Dion", about the singers' stalker-like affection for her. Dion has also been referred/mentioned in various hit songs including "Dark Fantasy" by Kanye West, "911/Mr. Lonely" by Tyler, the Creator, "That Girl" by Pharrell Williams, "Work" by A$AP Ferg, and "What's The Use" by Mac Miller, to name a few. Cultural honors In 1999, Dion received a star on Canada's Walk of Fame and was inducted into the Canadian Broadcast Hall of Fame. She received a star on the Hollywood Walk of Fame in January 2004, one which she dedicated to her father, who had died the month prior. In May 2003, she placed at No. 10 on VH1's list of "50 Greatest Women of the Video Era". Dion's album Falling into You is included on the Rock and Roll Hall of Fame's Definitive 200 list. "My Heart Will Go On" was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts. In 2021, Dion was ranked by Forbes as the third richest woman in entertainment with an estimated net worth of US$460 million. In August 2008, she received an honorary doctorate in music from the Université Laval in Quebec City. In October 2010, Dion was named a Goodwill Ambassador, a program created by the UN in 1999, sharing this accolade with Oscar-winner Susan Sarandon. She also received several state decorations. In 2004, she was awarded the Society of Singers Lifetime Achievement Award. On 26 July 2013, she was awarded the highest rank of the Order of Canada, the Companion of the Order of Canada, by the Governor General of Canada and the investiture ceremony was held at Citadelle of Quebec, in which they said: "An incomparable artist, she is equally known for her compassion, generosity and commitment to a number of social and humanitarian causes. She is notably the national celebrity patron for Cystic Fibrosis Canada and honorary patron of the CHU Sainte-Justine. In addition, through her foundation, she also helps children in need and their families here in Canada and abroad." By the end of 1998, Dion was recognized by Billboard as the "Woman of the Year". They also stated how Céline's voice was featured in eight charting albums on Billboard 200 year-end chart which sold 18 million units during a calendar year (excluding her own catalog sales and recent releases at that time). West University of Timișoara conducted a research study that analyzes Céline Dion's contributions to global music culture in both spatial and temporal terms, In November 2013, Dion was inducted at the American Gaming Association Hall Of Fame for her outstanding contributions to the growth and stature of the gaming industry. In popular culture Dion was referenced as an antagonist character named "Feline Dion" from the hit animated series Totally Spies! which was aired in an episode in 2013. In 2021, French actress and filmmaker Valérie Lemercier released Aline, a film which fictionalized Dion's life with Lemercier playing a singer named "Aline Dieu". Other activities Business endeavours Les Productions Feeling Inc., also known as Feeling Inc. or just Feeling, is an artist management company based in Laval, Québec, Canada, and owned by Dion and her husband and manager, Rene Angélil. She is also founder of Nickels Restaurant food chain. She and her husband also own Le Mirage Golf Club and Schwartz's Restaurant. In association with Andre Agassi, Steffi Graf and Shaquille O'Neal, she opened a popular night club called Pure, located at Caesars Palace. Dion became an entrepreneur with the establishment of her franchise restaurant Nickels in 1990. She has since divested her interests in the chain and is no longer affiliated with Nickels, as of 1997. In 2003, Dion signed a deal with Coty, Inc. to release Celine Dion Parfums. Her latest fragrance, Signature, was released in September 2011 with an advertising campaign by New York agency Kraftworks NYC. Since its inception, Celine Dion Parfums has grossed over $850 million in retail sales. In October 2004, Air Canada hired Dion as part of their promotional campaign to unveil new service products and an updated livery. "You and I", the theme song sung by Dion, was written by advertising executives working for Air Canada. Dion also launched an eponymous bag and accessories line "Céline Dion Collection". According to Innee-Sedona International, the Asia partner for Bugatti Group said that it already topped $10 million sales after just three collections. Philanthropy Dion has actively supported many charity organizations, worldwide. She has promoted the Canadian Cystic Fibrosis Foundation (CCFF) since 1982, and became the foundation's National Celebrity Patron in 1993. She has an emotional attachment to the foundation; her niece Karine succumbed to the disease at the age of sixteen, in Dion's arms. In 2003, she joined a number of other celebrities, athletes, and politicians, including Josh Groban and Yolanda Adams to support "World Children's Day", a global fundraising effort sponsored by McDonald's. The effort raised money from more than 100 nations and benefited orphanages and children's health organizations. In addition, she has been a major supporter of the T. J. Martell Foundation, the Diana Princess of Wales Memorial Fund, and many health and educational campaigns. During the aftermath of Hurricane Katrina, she donated $1 million to the victims of the storm, and held a fund-raising event for the victims of the 2004 Asian tsunami, which subsequently raised more than $1 million. After the 2008 Sichuan earthquake, she donated $100,000 to China Children & Teenagers' Fund and sent a letter showing her consolation and support. Since 2004, she is involved, alongside husband René Angelil, with the Québec gay community by supporting the publication of health and HIV prevention materials in Gay Globe Magazine, owned by journalist Roger-Luc Chayer. She is also a member of Canadian charity Artists Against Racism. In November 2018, she launched a gender-neutral clothing line for kids, Celinununu. In 2009, Dion joined an effort along with Leonardo DiCaprio, James Cameron and Kate Winslet, to donate money to support the nursing home fees of the then-last living survivor of the sinking of the Titanic, Millvina Dean. The campaign resulted in $30,000 as donation. Personal life As the youngest of 14 children, Dion grew up wearing hand-me-downs and sharing a bed with several sisters. As a baby, she slept in a drawer to save on a crib. She was bullied at school and called "Vampire", owing to her teeth and skinny frame. Local tabloids even dubbed her "Canine Dion" in the teenage years of her career. She often spoke of running home from school to play music in the basement with her brothers and sisters. "I detested school", she would later write in her autobiography. "I had always lived surrounded by adults and children a lot older than me. I learned everything I needed to know from them. As far as I was concerned, real life existed around them." Dion's eldest sister was already in her twenties, married, and pregnant with her first child at the time Dion's mother, Thérèse, was pregnant with Celine. Dion first met René Angélil, her future husband and manager, in 1980, when she was 12 and he was 38, after her brother, Michel Dondalinger Dion, had sent him a demonstration recording of "Ce n'était qu'un rêve" ("It Was Only a Dream/Nothing But A Dream"), a song she, her mother Thérèse, and her brother Jacques Dion had jointly written. Over subsequent years, Angélil guided her to stardom in francophone territories. After the dissolution of Angélil's second marriage, he and Dion took a professional break and he spent the major part of the year in Las Vegas, while Dion was learning English and taking dance and vocal lessons in Montreal. Upon his return, "he avoided being alone with me for too long a time", she said in her 2000 autobiography My Story, My Dream. Meanwhile, she kept a photo of Angélil under her pillow, writing, "Before I fell asleep, I slipped it under the pillow, out of fear that my mother, who always shared a room with me, would find it." She also wrote "Less and less could I hide from myself the fact that I was in love with Rene; I had all the symptoms," and "I was in love with a man I couldn't love, who didn't want me to love him, who didn't want to love me." Dion's mother, who traveled everywhere with the singer until she was 19, was initially wary of her daughter's growing infatuation with a much older and twice-divorced Angélil, but Dion was insistent, telling her mother "I'm not a minor. This is a free country. No one has the right to prevent me from loving whoever I want to." Their professional relationship eventually turned romantic after Dion's win at the Eurovision Song Contest in Dublin in 1988; she was 20. The romance was known to only family and friends for five years, though Dion nearly revealed all in a tearful 1992 interview with journalist Lise Payette. Many years later, Payette penned the song "Je cherche l'ombre" for Dion's 2007 album D'elles. Dion and Angélil became engaged in 1993, on Dion's 25th birthday, and made their relationship public in the liner notes of her 1993 album The Colour of My Love. They married on 17 December 1994, at Notre-Dame Basilica in Montreal, Quebec. On 5 January 2000, Dion and Angélil renewed their wedding vows in Las Vegas. In May 2000, Dion had two small operations at a fertility clinic in New York to improve her chances of conceiving, after deciding to use in vitro fertilization because of years of failed attempts to conceive. Their first son, René-Charles Angélil, was born on 25 January 2001. Dion suffered a miscarriage in 2009. In May 2010, Angélil announced that she was 14 weeks pregnant with twins after a sixth treatment of in vitro fertilization. On Saturday, 23 October 2010, at 11:11 and 11:12 am respectively, Dion gave birth to fraternal twins by Caesarean section at St. Mary's Medical Center in West Palm Beach, Florida, The twins were named Eddy, after Dion's favourite French songwriter, Eddy Marnay, who had also produced her first five albums; and Nelson, after former South African President Nelson Mandela. She appeared with her newborn sons on the cover of 9 December 2010 issue of the Canadian edition of Hello! magazine. On 14 January 2016, Angélil died of throat cancer. His funeral was held on 22 January 2016, in Notre-Dame Basilica in Montreal, where he and Dion wed 21 years earlier. The couple's eldest son, René-Charles, gave the eulogy just three days before his 15th birthday. Following Angélil's death, Dion became the sole owner and president of her management and production companies, including CDA Productions and Les Productions Feeling. Two days after Angélil's deathon what would have been her husband's birthdayDion's brother, Daniel, died aged 59, also of cancer. On 22 March 2018, Dion's management team announced that she had been dealing with hearing irregularities for the previous 12–18 months due to patulous Eustachian tube and would undergo a minimally invasive surgical procedure to correct the problem after ear-drop medications appeared to be no longer working. Owing to her slight frame, Dion has for decades been subject of eating disorder rumors, which she has consistently denied: "I don't have an eating problem, and there's nothing more I can say about it". "My work requires me to be in great physical shape. I wouldn't have been able to live up to a hundred shows a year and travel ceaselessly from one end of the world to the other if I had eaten too much or not enough, or if, as certain magazines have claimed, I made myself throw up after each meal." She has often spoken about having been bullied at school and lacking confidence in her early years in the business: "I didn't have, visually, what it took. I was not pretty, I had teeth problems, and I was very skinny. I didn't fit the mold". Dion took up ballet under the guidance of her former dancer, Naomi Stikeman, who also previously performed for The National Ballet of Canada and La La La Human Steps, and former Cirque du Soleil dancer-turned-fashion-illustrator, Pepe Muñoz, who is also part of her styling team. She is also a skier and a regular at her son René-Charles' hockey games. Dion resides in Henderson, Nevada, in a house she bought with her husband in 2003. She previously owned homes in Montreal, Quebec, and Jupiter Island, Florida. Dion's older son René-Charles Angélil loves music and has tried to follow a musical path. Under the stage name Big Tip, he released in May 2018 on his SoundCloud account 6 rap songs including originals "The Kid", "The Apple" and "Never Stop" and two adaptations from The Weeknd songs, "Catwalks" sampling on The Weeknd's "Sidewalks" and a remix of The Weeknd's "Loft Music" as "Loft Music Remix". He also released the 5-track EP CasiNo. 5 in December 2020 using the artistic name RC Angelil. The EP includes the tracks "Mamba Mentality", "Money, Thrills and Rest", "No Ls", "GG4" (featuring PAKKA) and "LV". Discography French-language studio albums La voix du bon Dieu (1981) Céline Dion chante Noël (1981) Tellement j'ai d'amour... (1982) Les chemins de ma maison (1983) Chants et contes de Noël (1983) Mélanie (1984) C'est pour toi (1985) Incognito (1987) Dion chante Plamondon (1991) D'eux (1995) S'il suffisait d'aimer (1998) 1 fille & 4 types (2003) D'elles (2007) Sans attendre (2012) Encore un soir (2016) English-language studio albums Unison (1990) Celine Dion (1992) The Colour of My Love (1993) Falling into You (1996) Let's Talk About Love (1997) These Are Special Times (1998) A New Day Has Come (2002) One Heart (2003) Miracle (2004) Taking Chances (2007) Loved Me Back to Life (2013) Courage (2019) Concert tours and residencies Tours Les chemins de ma maison (1983–1984) Céline Dion en concert (1985) Tournée Incognito (1988) Unison Tour (1990–1991) Celine Dion in Concert (1992–1993) The Colour of My Love Tour (1994–1995) D'eux Tour (1995–1996) Falling into You: Around the World (1996–1997) Let's Talk About Love World Tour (1998–1999) Taking Chances World Tour (2008–2009) Tournée Européenne 2013 Summer Tour 2016 Celine Dion Live 2017 Celine Dion Live 2018 Courage World Tour (2019–2023) Residencies A New Day... (2003–2007) Celine (2011–2019) Celine (2022) Filmography Touched by an Angel The Nanny All My Children La fureur de Céline Des fleurs sur la neige Quest for Camelot as Juliana (singing voice) Céline sur les Plaines Celine: Through the Eyes of the World Sur la piste du Marsupilami Hell's Kitchen Muppets Most Wanted References Bibliography Céline Dion. Artist direct. Retrieved on 18 December 2005. "Celine Dion". Contemporary Musicians, Volume 25. Gale Group, 1999. "Celine Dion". Newsmakers 1995, Issue 4. Gale Research, 1995. Céline Dion. Rock on the Net. Retrieved 20 November 2005. Céline Dion. The Canadian Encyclopedia. Retrieved 2 July 2006 Céline Dion provided by VH1.com Retrieved 16 August 2005. Dion extends long Las Vegas stint. news.bbc.co.uk. Retrieved 5 November 2005. Durchholz, Daniel. Review: One Heart. St. Louis Post-Dispatch. St. Louis, Mo.: 24 April 2003. p. F.3 The 100 Outstanding Pop Vocalist covemagazine.com Retrieved 1 November 2005. Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties () World Music Awards Diamond Award Retrieved 1 November 2005, (Search by year required) Further reading External links CelineDion.com – Official website operated by Sony Music Canada (English, French). [ Celine Dion] at AllMusic [ Celine Dion] at Billboard.com 1968 births Living people 20th-century Canadian composers 20th-century Canadian women singers 20th-century women composers 21st-century Canadian composers 21st-century Canadian women singers 21st-century women composers 550 Music artists Ballad musicians Businesspeople from Florida Businesspeople from Quebec Canadian businesspeople in retailing Canadian child singers Canadian contemporary R&B singers Canadian dance musicians Canadian expatriate musicians in the United States Canadian women pop singers Canadian women rock singers Canadian women singers Canadian pop pianists Canadian restaurateurs Canadian Roman Catholics Canadian soft rock musicians Canadian sopranos Canadian soul singers Canadian voice actresses Canadian women in business Canadian women philanthropists Canadian women pianists Chevaliers of the Légion d'honneur Chevaliers of the Ordre des Arts et des Lettres Columbia Records artists Companions of the Order of Canada Epic Records artists Eurovision Song Contest entrants for Switzerland Eurovision Song Contest entrants of 1988 Eurovision Song Contest winners FAO Goodwill ambassadors Félix Award winners French-language singers of Canada French Quebecers Grammy Award winners Ivor Novello Award winners Juno Award for Album of the Year winners Juno Award for Artist of the Year winners Juno Award for Dance Recording of the Year winners Juno Award for Francophone Album of the Year winners Juno Award for International Album of the Year winners Juno Award for Single of the Year winners Juno International Achievement Award winners Las Vegas shows Musicians from Las Vegas Officers of the National Order of Quebec People from Charlemagne, Quebec People from Henderson, Nevada People from Jupiter Island, Florida Philanthropists from Florida Philanthropists from Nevada Philanthropists from Quebec Pop rock singers Singers from Quebec Singers with a three-octave vocal range Spanish-language singers of Canada Women restaurateurs World Music Awards winners

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Was this her first album?

Was Sans attendre or Loved Me Back to Life Celine Dion's first album?

Celine Dion

In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. Additionally, for a record sixth time, Dion performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, Dion appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, Dion released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, Dion made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. Dion began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. The music video for "Incredible" was uploaded onto Dion's official Vevo channel in early June 2014. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Celine une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. CANNOTANSWER

She stated that the show will feature, "all the songs from my repertoire that people want to hear

Céline Marie Claudette Dion (; born 30 March 1968) is a Canadian singer. She is noted for her powerful and technically skilled vocals. Dion is the best-selling Canadian recording artist, and the best-selling French language artist of all time. Her music has incorporated genres such as pop, rock, R&B, gospel, and classical music. Born into a large family from Charlemagne, Quebec, she emerged as a teen star in her home country with a series of French-language albums during the 1980s. She first gained international recognition by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest, where she represented Switzerland. After learning to speak English, she signed on to Epic Records in the United States. In 1990, Dion released her debut English-language album, Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. Her recordings since have been mainly in English and French although she has also sung in Spanish, Italian, German, Latin, Japanese, and Chinese. During the 1990s, she achieved worldwide fame after releasing several best-selling English-language albums in music history, such as Falling into You (1996) and Let's Talk About Love (1997), which were both certified diamond in the US and over 30 million sales worldwide each. She also scored a series of international number-one hits, including "The Power of Love", "Think Twice", "Because You Loved Me", "It's All Coming Back to Me Now", "My Heart Will Go On", and "I'm Your Angel". Dion continued releasing French albums between each English record; D'eux (1995) became the best-selling French-language album of all time, while S'il suffisait d'aimer (1998), Sans attendre (2012), and Encore un soir (2016), were all certified diamond in France. During the 2000s, she built her reputation as a highly successful live performer with A New Day... on the Las Vegas Strip (2003–07), which remains the highest-grossing concert residency of all time, as well as the Taking Chances World Tour (2008–09), one of the highest-grossing concert tours of all time. Dion is also one of the best-selling music artists of all time, with record sales of more than 200 million worldwide. Although her releases have often received mixed critical reception, Dion is regarded as one of pop music's most successful vocalists. She has won five Grammy Awards, including Album of the Year and Record of the Year. Billboard named her the "Queen of Adult Contemporary" for having the most number-one songs on the radio format for a female artist. Dion is the second best-selling female artist in the US during the Nielsen SoundScan, the 8th all-time best-performing top female artist in the United States, and the sixth all-time best-performing female soloist in Billboard 200 history. In 2003, she was honoured by the International Federation of the Phonographic Industry (IFPI) for selling over 50 million albums in Europe. In 2008, Dion was recognized as the Best-selling International Artist in South Africa. Life and career 1968–1989: Early life and career beginnings Dion was born in Charlemagne, Quebec, northeast of Montreal, the youngest of 14 children of Thérèse (née Tanguay, 1927–2020), a homemaker, and Adhémar Dion (1923–2003), a butcher, both of French-Canadian descent. She was raised a Roman Catholic in a poor but, by her own account, happy home in Charlemagne. Music had always been a major part of the Dion family, and she was named after the song "Céline", which French singer Hugues Aufray had recorded two years before her birth. On 13 August 1973, at the age of five, the young Céline made her first public appearance at her brother Michel's wedding, where she performed Christine Charbonneau's song "Du fil, des aiguilles et du coton". She continued to perform with her siblings in her parents' small piano bar called Le Vieux Baril, "The Old Barrel". From an early age, she had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, "I missed my family and my home, but I don't regret having lost my adolescence. I had one dream: I wanted to be a singer." As a child in Quebec, Dion participated in Girl Guide programs as a member of Girl Guides of Canada. At age 12, she collaborated with her mother and her brother Jacques to write and compose her first song, "Ce n'était qu'un rêve", whose title translates as "It Was Only a Dream" or "Nothing But A Dream". Her brother Michel sent the recording to music manager René Angélil, whose name he discovered on the back of a Ginette Reno album. Angélil was moved to tears by Dion's voice and decided to make her a star. In 1981, he mortgaged his home to fund her first record, La voix du bon Dieu, which later became a local No. 1 hit and made her an instant star in Quebec. Her popularity spread to other parts of the world when she competed in the 1982 Yamaha World Popular Song Festival in Tokyo, Japan, and won the musician's award for "Top Performer" as well as the gold medal for "Best Song" with "Tellement j'ai d'amour pour toi". By 1983, in addition to becoming the first Canadian artist to receive a gold record in France for the single "D'amour ou d'amitié" ("Of Love or of Friendship"), Dion had also won several Félix Awards, including "Best Female performer" and "Discovery of the Year". Further success came when she represented Switzerland in the 1988 Eurovision Song Contest with the song "Ne partez pas sans moi" and won the contest by a close margin in Dublin, Ireland. At age 18, after seeing a Michael Jackson performance, Dion told Angélil that she wanted to be a star like Jackson. Though confident in her talent, Angélil realized that her image needed to be changed for her to be marketed worldwide. She receded from the spotlight for a number of months, during which she underwent dental surgery to improve her appearance, and was sent to the École Berlitz in 1989 to polish her English. In 1989, during a concert on the Incognito tournée, she injured her voice. She consulted the otorhinolaryngologist William Gould, who gave her an ultimatum: have immediate surgery on her vocal cords or do not utilize them at all for three weeks. Dion chose the latter and underwent vocal training with William Riley. 1990–1992: Unison, Dion chante Plamondon, and Celine Dion Two years after she learned English, Dion made her debut into the Anglophone market with Unison (1990), the lead single having originally been recorded by Laura Branigan. She incorporated the help of many established musicians, including Vito Luprano and Canadian producer David Foster. The album was largely influenced by 1980s soft rock music that quickly found a niche within the adult contemporary radio format. Unison also hit the right notes with critics: Jim Faber of Entertainment Weekly wrote that her vocals were "tastefully unadorned", and that she never attempted to "bring off styles that are beyond her". Stephen Thomas Erlewine of AllMusic declared it "a fine, sophisticated American debut". Singles from the album included "(If There Was) Any Other Way", "The Last to Know", "Unison", and "Where Does My Heart Beat Now", a mid-tempo soft-rock ballad that made prominent use of the electric guitar. The latter became her first top-ten hit on the US Billboard Hot 100, peaking at number four. In 1991, Dion was a featured soloist on "Voices That Care", a tribute to American troops fighting in Operation Desert Storm. Her real international breakthrough came when she duetted with Peabo Bryson on the title track to Disney's animated film Beauty and the Beast (1991). It became her first top-ten hit in the UK and her second top-ten hit in the United States. The song earned its songwriters an Academy Award for Best Song and gave Dion her first Grammy Award for Best Pop Performance by a Duo or Group with Vocal. "Beauty and the Beast" served as the lead single from her 1992 self-titled album, which, like her debut, had a strong pop rock influence combined with elements of soul and classical music. Owing to the success of the lead-off single and her collaborations with David Foster and Diane Warren, the album was even more well-received commercially than Unison; it was certified diamond in Canada and double platinum in the US. The album's second single "If You Asked Me To" (a cover of Patti LaBelle's song from the 1989 movie Licence to Kill) became her first number-one single in Canada and peaked at number four on the US Billboard Hot 100. Also during this time, Dion released the Francophone album Dion chante Plamondon. The album consisted mostly of covers, but featured four new songs: "Des mots qui sonnent", "Je danse dans ma tête", "Quelqu'un que j'aime, quelqu'un qui m'aime", and "L'amour existe encore". It was originally released in Canada and France during the 1991–1992 period, then later received an international release in 1994, the first French Celine Dion album to do so. "Un garçon pas comme les autres (Ziggy)" became a smash hit in France, reaching No. 2 and being certified gold. In Quebec, the album was certified Gold the day it was released. By 1992, Unison, Céline Dion, and numerous high-profile media appearances had propelled Dion to superstardom in North America. She had achieved one of her main objectives: wedging her way into the Anglophone market and achieving fame. However, while she was experiencing rising success in the US, her French fans in Canada criticized her for neglecting them. She would later rebuff these criticisms at the 1991 Félix Awards show, where, after winning "English Artist of the Year", she openly refused to accept the award. She asserted that she was—and would always be—a French, not an English, artist. Apart from her commercial success, there were also changes in her personal life, as Angélil, who was 26 years her senior, transitioned from manager to lover. However, the relationship was kept a secret as they both feared that the public would find their relations inappropriate. 1993–1995: The Colour of My Love and D'eux In 1993, Dion announced her feelings for her manager by declaring him "the colour of [her] love" in the dedication section of her third English-language album The Colour of My Love. However, instead of criticizing their relationship as she had feared, fans embraced the couple. Eventually, Angélil and Dion married in an extravagant wedding ceremony on 17 December 1994, which was broadcast live on Canadian television. As with most of her catalogue, The Colour of My Love had over-riding themes of love and romance. It became her most successful record up to that point, selling more than six million copies in the US, two million in Canada, and peaking at No. 1 in many countries. The album also spawned Dion's first US, Canadian, and Australian No. 1 single "The Power of Love" (a remake of Jennifer Rush's 1985 hit), which would become her signature hit in various nations until she reached new career heights in the late 1990s. The single "When I Fall in Love", a duet with Clive Griffin, achieved moderate success on the US and Canadian charts and was nominated for two Grammy Awards, winning one. The Colour of My Love also became Dion's first major hit in Europe, particularly in the United Kingdom. Both the album and the single "Think Twice" simultaneously occupied the top of the British charts for five consecutive weeks. "Think Twice", which remained at No. 1 for seven weeks, eventually became the fourth single by a female artist to sell in excess of one million copies in the UK while the album was eventually certified five-times platinum for two million copies sold. Dion kept to her French roots and continued to release many Francophone recordings between each English record. Generally, they achieved more credibility than her English-language works. She released À l'Olympia, a live album that was recorded during one of her concerts at the Paris Olympia in 1994. It had one promotional single, a live version of "Calling You", which peaked at seventy-five on the French Singles Chart. She also recorded a bilingual version of "Petit Papa Noël" with Alvin and the Chipmunks for the 1994 holiday album A Very Merry Chipmunk. D'eux (also known as The French Album in the United States), was released in 1995, and it would go on to become the best-selling French-language album of all time. The album was mostly written and produced by Jean-Jacques Goldman, and amassed huge success with the singles "Pour que tu m'aimes encore" and "Je sais pas". "Pour que tu m'aimes encore" reached No. 1 in France and stayed at the top position for twelve weeks. It was later certified Platinum in France. The single reached the top ten in the UK and Ireland, a rare accomplishment for a French song. The second single off the album, "Je sais pas", reached No. 1 on the French Singles Chart as well and was certified Silver there. During the mid-1990s and onward, Dion's albums were generally constructed on the basis of melodramatic soft rock ballads, with sprinklings of up-tempo pop and rare forays into other genres. She collaborated with many renowned writers and producers such as Jim Steinman and David Foster, who helped her to develop a signature sound. While critical reviews fluctuated, her releases performed increasingly well on the international charts, and in 1996, she won the World Music Award for "World's Best-selling Female Recording Artist of the Year" for the third time. By the mid-1990s, she had established herself as one of the best-selling artists in the world. 1996–1999: Falling into You, Let's Talk About Love, and S'il suffisait d'aimer In the five years since her debut English language album in 1990, Billboard stated that she had already sold 40 million albums worldwide. Falling into You (1996), Dion's fourth English-language album, presented the singer at the height of her popularity and showed a further progression of her music. In an attempt to reach a wider audience, the album combined many elements, such as complex orchestral sounds, African chanting, and elaborate musical effects. Additionally, instruments like the violin, Spanish guitar, trombone, the cavaquinho, and saxophone created a new sound. The singles encompassed a variety of musical styles. The title track "Falling into You" and "River Deep – Mountain High" (a Tina Turner cover) made prominent use of percussion instruments; "It's All Coming Back to Me Now" (produced by its writer Jim Steinman) and a remake of Eric Carmen's "All by Myself" maintained a soft-rock atmosphere, combined with the classical sound of the piano; and the No. 1 single "Because You Loved Me", which was written by Diane Warren, was a pop ballad that served as the theme to the 1996 film Up Close and Personal. Falling into You garnered career-best reviews for Dion. While Dan Leroy wrote that it was not very different from her previous work, and Stephen Holden of The New York Times and Natalie Nichols of the Los Angeles Times wrote that the album was formulaic, other critics, such as Chuck Eddy of Entertainment Weekly, Stephen Thomas Erlewine of AllMusic, and Daniel Durchholz, lavished the album as "compelling", "passionate", "stylish", "elegant", and "remarkably well-crafted". Falling into You became Dion's most critically and commercially successful album: it topped the charts in many countries and became one of the best-selling albums of all time. In 2013, CBC Music ranked Falling into You 33rd in their list of the 100 greatest Canadian albums ever. In the United States, the album reached No. 1, and was later certified 11× Platinum for over 11 million copies shipped. In Canada, the album was certified diamond for over one million copies shipped. The IFPI certified Falling into You 9× Platinum, an accolade that has been given to only two other albums in history, with one of the two being Dion's own album, Let's Talk About Love. The album also won Grammy Awards for Best Pop Album and the academy's highest honour, Album of the Year. Dion was asked to perform "The Power of the Dream" at the opening ceremony of the 1996 Atlanta Olympic Games. In March 1996, she launched the Falling into You Tour in support of her new album, performing concerts around the world for over a year. She followed Falling into You with Let's Talk About Love (1997), which was publicized as its sequel. The recording process took place in London, New York City, and Los Angeles, and featured a host of special guests, such as Barbra Streisand on "Tell Him"; the Bee Gees on "Immortality"; and tenor Luciano Pavarotti on "I Hate You Then I Love You". Other musicians included Carole King, Sir George Martin, Bryan Adams and Jamaican singer Diana King, who added a reggae tinge to "Treat Her Like a Lady". Let's Talk About Love was another major success, reaching No. 1 all over the world, attaining platinum status in twenty-four sales territories, and becoming the fastest selling album of her career. In the United States, the album topped the chart in its seventh week of release, and was later certified 10× Platinum in the US for over 10 million copies shipped. In Canada, the album sold 230,212 copies in its first week of release, which remains a record. It was eventually certified diamond in Canada for over one million copies shipped. The most successful single from the album was the classically influenced ballad "My Heart Will Go On", which was written and composed by James Horner and Will Jennings, and produced by Horner and Walter Afanasieff. Serving as the love theme for the 1997 blockbuster film Titanic, the song topped the charts across the world and became Dion's signature song. Horner and Jennings won the Academy Award and Golden Globe for Best Original Song, while Dion herself garnered two Grammy Awards for Best Female Pop Vocal Performance and the most coveted, Record of the Year, (the song itself won four awards, but two were presented to the songwriters). "My Heart Will Go On" and "Think Twice" made her the only female artist in the UK to have two singles to sell more than a million copies. In support of her album, she embarked on the Let's Talk About Love Tour between 1998 and 1999. Dion ended the 1990s with three more extremely successful albums: the Christmas album These Are Special Times (1998), the French-language album, S'il suffisait d'aimer, and the compilation album All the Way... A Decade of Song (1999). On These Are Special Times, she co-wrote the song "Don't Save It All for Christmas Day" along with Ric Wake and Peter Zizzo. The album was her most classically influenced yet, with orchestral arrangements found on virtually every track. The album featured the single "I'm Your Angel" (a duet with R. Kelly), which became her fourth US No. 1 single, and a smash hit across the world. The album's second single "The Prayer" (a duet with Andrea Bocelli) served as the soundtrack of the 1998 film Quest for Camelot and won a Golden Globe Award for Best Original Song. All the Way... A Decade of Song drew together her most successful hits coupled with seven new songs, including the lead-off single "That's the Way It Is", a cover of Roberta Flack's "The First Time Ever I Saw Your Face", and "All the Way", a duet with Frank Sinatra. All the Way became one of the best-selling compilation albums of all time, reaching No. 1 in the United States for three weeks. The album was later certified 7x Platinum in the US for 7 million copies shipped. It also topped the charts in the UK, Canada, and Australia. Her last French-language studio album of the 1990s, S'il suffisait d'aimer, was very successful as well, topping the charts in every major French-speaking country, including France, Switzerland, the Wallonia region of Belgium, and Canada. In France, the album was certified diamond, selling 1.5 million copies. By the end of the 1990s, Dion had sold more than 130 million records worldwide, and had won a slew of industry awards. Her status as one of the music industry's biggest pop divas was further solidified when she was asked to perform on VH1's Divas Live special in 1998, with superstars Aretha Franklin, Gloria Estefan, Shania Twain, and Mariah Carey. That year, she also received two of the highest Canadian honours: "Officer of the Order of Canada for Outstanding Contribution to the World of Contemporary Music" and "Officer of the National Order of Quebec". A year later, she was inducted into the Canadian Broadcast Hall of Fame, and was honoured with a star on Canada's Walk of Fame. Starting from the mid-1990s, the pop rock influence that was more noticeable in her earlier releases was replaced by a more mature feel. Additionally, the recurring theme of "love" dominated most of her releases, which led to some critics dismissing her music as banal. Other critics, like Elysa Gardner and Jose F. Promis, praised her voice during this period, describing it as a "technical marvel". Steve Dollar, in his review of These Are Special Times, opined that Dion was a "vocal Olympian for whom there ain't no mountain—or scale—high enough". 2000–2003: Hiatus, A New Day Has Come, One Heart, and 1 fille & 4 types After releasing and promoting thirteen albums during the 1990s, Dion stated that she needed to settle down, and announced on her latest album All the Way... A Decade of Song, that she needed to take a step back from the spotlight and enjoy life. Angélil's diagnosis with esophageal cancer also prompted her to hiatus. While on break, she was unable to escape the spotlight. In 2000, the National Enquirer published a false story about the singer. Brandishing a picture of Dion and her husband, the magazine misquoted her, printing the headline, "Celine — 'I'm Pregnant With Twins!'" She later sued the magazine for more than $20million. The editors of the Enquirer printed an apology and a full retraction to her in the next issue, and donated money to the American Cancer Society in honour of her and her husband. A year after the incident, after undergoing fertility treatments, she gave birth to a son, René-Charles Dion Angélil, on 25 January 2001, in Florida. Following the 11 September attacks, Dion returned to the music scene, and in a televised performance sang "God Bless America" at the benefit concert America: A Tribute to Heroes. Chuck Taylor of Billboard wrote, "the performance ... brings to mind what has made her one of the celebrated vocalists of our time: the ability to render emotion that shakes the soul. Affecting, meaningful, and filled with grace, this is a musical reflection to share with all of us still searching for ways to cope." She performed it again in 2003 during pregame festivities for Super Bowl XXXVII in San Diego. In December 2001, she published her autobiography My Story, My Dream which chronicled her rags-to-riches story. Dion ended her three-year sabbatical from the music industry with the aptly titled album A New Day Has Come, released in March 2002. The album was her most personal yet, with songs focusing on her motherhood and maturation as a woman such as "A New Day Has Come", and "Goodbye's (The Saddest Word)". She stated: "becoming a mother makes you a grown-up." She stated, "A New Day Has Come, for Rene, for me, is the baby. It has everything to do with the baby ... That song "A New Day Has Come" represents very well the mood I'm feeling right now. It represents the whole album." A New Day Has Come debuted at No. 1 in more than 17 countries, including the United Kingdom and Canada. In the United States, the album debuted at No. 1 on the Billboard 200, with first-week sales of 527,000 copies; marking her first No. 1 debut on the chart, as well as the highest debut sales week of her career in the US. It was eventually certified 3× Platinum in the United States, and 6× Platinum in Canada. While the album was commercially successful, critical reviews suggested that it was "forgettable" and the lyrics were "lifeless". Both Rob Sheffield of Rolling Stone magazine, and Ken Tucker of Entertainment Weekly, stated that Dion's music had not developed much during her break, and classed her material as trite and mediocre. Sal Cinquemani of Slant Magazine called the album "a lengthy collection of drippy, gooey pop fluffer-nutter". The first single off the album, A New Day Has Come peaked at No.22 on the Billboard Hot 100 charts, being an airplay-only release. On the Hot Adult Contemporary Tracks, however, the song spent 21 consecutive weeks at No. 1, breaking the record for the longest span at the top. The previous record holders were Phil Collins' You'll Be in My Heart and Dion's own Because You Loved Me, both of which lasted nineteen weeks at No. 1. The album's next single, "I'm Alive", was featured on the soundtrack for Stuart Little 2 (2002), and was ranked number 2 on the European Hot 100 Singles, and number 6 on the Hot Adult Contemporary Tracks in the United States. During 2002, she performed for many benefit concerts, including her second appearance on VH1 Divas Live, a concert to benefit the VH1 Save The Music Foundation, alongside Cher, Anastacia, Dixie Chicks, Mary J. Blige, Whitney Houston, Cyndi Lauper, Shakira, and Stevie Nicks. In conjunction with an endorsement deal with Chrysler, she released One Heart (2003), an album that represented her appreciation for life. The album largely consisted of pop and dance music—a deviation from the soaring, melodramatic ballads, for which she had been known. Although the album achieved moderate success, One Heart was met with mixed criticism, and words such as "predictable" and "banal" appeared even in the most lenient reviews. A cover of the 1989 Cyndi Lauper hit "I Drove All Night", released to launch her advertising campaign with Chrysler, incorporated elements of dance-pop and rock and roll. The advertising deal was met with criticism, with some stating that Dion was trying to cater to her sponsors. After One Heart, she released her next English-language studio album, Miracle (2004). Miracle was a multimedia project conceived by Dion and Australian photographer Anne Geddes and had a theme centring on babies and motherhood. The album was filled with lullabies and other songs of maternal love and inspiration, including covers of Louis Armstrong's "What a Wonderful World" and John Lennon's "Beautiful Boy". The reviews for Miracle were mixed. Stephen Thomas Erlewine of Allmusic.com gave the album three of out five stars, stating, "The worst you can say about the record is that there are no surprises, but the audience for this record doesn't want surprises; they want comfort, whether it arrives in polished music or artsy photos of newborns, and Miracle provides both, which makes it appealing for those expectant or new mothers in Dion's audience." Chuck Taylor of Billboard magazine wrote that the single "Beautiful Boy" was "an unexpected gem" and called Dion "a timeless, enormously versatile artist", Chuck Arnold of People Magazine, however, labelled the album as excessively sentimental, while Nancy Miller of Entertainment Weekly opined that "the whole earth-mama act is just opportunism, reborn". Miracle debuted at No. 4 on the Billboard 200 chart and No. 1 in Canada and was eventually certified platinum by the RIAA. The francophone album 1 fille & 4 types (1 Girl & 4 Guys), released in October 2003, fared better than her previous two releases and showed her trying to distance herself from the "diva" image. She recruited Jean-Jacques Goldman, Gildas Arzel, Eric Benzi, and Jacques Veneruso, with whom she had previously worked on two of her best-selling French albums S'il suffisait d'aimer and D'eux. Labeled "the album of pleasure" by Dion herself, the album cover showed her in a simple and relaxed manner, contrary to the choreographed poses usually found on her album covers. The album achieved widespread commercial success in France, Canada, and Belgium where it reached No. 1. In France, the album debuted at No. 1 and was later certified 2× platinum after selling over 700,000 copies. Critic Stephen Erlewine of AllMusic wrote that Dion's vocals were "back at top of their game" and that she was "getting back to pop basics and performing at a level unheard in a while". Though her albums were commercially successful, they did not achieve the sales or the reception of her previous works. Her songs received less airplay as radio became less embracing of balladeers like Dion, Carey, and Houston, and was focused on more up-tempo, Urban/Hip-hop songs. By 2004, Dion had accumulated sales of more than 175 million albums worldwide and received the Chopard Diamond Award from the World Music Awards for her achievements. According to the official World Music Awards website, the award is rare; it is "not presented every year" and an artist can be presented with the award only for selling "over 100 million albums during their career". 2003–2007: A New Day... In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza, A New Day..., at The Colosseum at Caesars Palace, Las Vegas. This move was generally seen as risky, but journalist Miriam Nunzio wrote that it was "one of the smartest business decisions in years by any major recording artist". Dion conceived the show after seeing O by Franco Dragone during her break from recording, and it premiered on 25 March 2003, in a 4,000-seat arena specifically designed for her show and modelled after the Roman Colosseum. Many stars attended the opening night including Dick Clark, Alan Thicke, Kathy Griffin, Lance Bass, and Justin Timberlake, who hosted the television special. The show, directed by Dragone and choreographed by the renowned Mia Michaels, was a combination of dance, music, and visual effects. It included Dion performing her biggest hits against an array of dancers and special effects. Reviewer Mike Weatherford felt that, at first, Dion was not as relaxed as she should be, and at times, it was hard to find the singer among the excessive stage ornamentation and dancers. However, he noted that the show had become more enjoyable over the course of its run, because of her improved stage-presence and simplified costumes. The show was well-received by audiences, despite the complaints of expensive tickets; it routinely sold out until its end in late 2007. Ticket prices averaged $135.33. According to Pollstar, Dion sold 322,000 tickets and grossed US$43.9 million in the first half of 2005, and by July 2005, she had sold out 315 out of 384 shows. By the end of 2005, she grossed more than US$76 million, placing sixth on Billboard's Money Makers list for 2005. Because of the show's success, her contract was extended into 2007 for an undisclosed sum. On 5 January 2007, it was announced that the show would end on 15 December 2007, with tickets for the period after October 2007 having gone on sale from 1 March. According to Billboard, A New Day... is the most successful residency of all time, grossing over US$385 million ($ million in dollars) and drawing nearly three million people to 717 shows. The Live in Las Vegas: A New Day... DVD was released on 10 December 2007, in Europe and the following day in North America. 2007–2010: D'elles, Taking Chances, and Taking Chances Tour On 21 May 2007, Dion released the French-language album D'elles (About Them), which debuted at the top of the Canadian album charts, selling 72,200 copies in its first week. It marked her tenth No. 1 album in the SoundScan era, and her eighth to debut at the top position. In Canada, the album has been certified 2× platinum, and within the first month had already shipped half a million units worldwide. D'Elles also reached No. 1 in France and Belgium. The first single "Et s'il n'en restait qu'une (je serais celle-là)" (meaning "And If There Was Only One Woman Left (I Would Be That One)") debuted at the top of the French singles chart a month earlier. Later that same year, she released the English album Taking Chances on 12 November in Europe, and 13 November in North America. Her first English studio album since 2003's One Heart, it featured pop, R&B, and rock inspired music. For this album, she collaborated with John Shanks and ex-Evanescence guitarist Ben Moody, as well as Kristian Lundin, Peer Åström, Linda Perry, Japanese singer Yuna Ito, and R&B singer-songwriter Ne-Yo. Dion stated, "I think this album represents a positive evolution in my career ... I'm feeling strong, maybe a little gutsier than in the past, and just as passionate about music and life as I ever was." She launched her year-long worldwide Taking Chances Tour on 14 February 2008, in South Africa, performing 132 dates in stadiums and arenas across five continents. The Taking Chances Tour was a great success in the United States, reaching the No. 1 spot on the Billboard Boxscore, having sold out every concert in the US and Canada. In addition, she appeared on Idol Gives Back for a second year in a row. Dion was nominated for six Juno Awards in 2008, adding to her 53 previous nominations (an all-time record). Her nominations included Artist of the Year, Pop Album of the Year (for Taking Chances), Francophone Album of the Year (for D'elles) and Album of the Year (for both Taking Chances and D'elles). The following year, she was nominated for 3 Juno Awards including the Fan Choice Award, Song of the Year (for Taking Chances), and Music DVD of the Year (for Live in Las Vegas — A New Day...) On 22 August 2008, Dion presented a free outdoor concert, mostly in French, on the Plains of Abraham, in Québec City, Canada, for the 400th anniversary of Québec City. The celebration gathered approximately 490,000 people. The concert, called Céline sur les Plaines, was released on DVD on 11 November 2008, in Québec and was released on 20 May 2009, in France. Late October 2008 saw the worldwide release of a comprehensive English-language greatest hits album, My Love: Essential Collection. In May 2009, Dion was named the 20th best-selling artist of the decade and the second-best-selling female artist of the decade in the United States, selling an estimated 17.57 million copies of her albums there since 2000. In June 2009, Forbes reported that she earned $100 million during 2008. In December 2009, Pollstar announced that she was the best-selling solo touring act of the decade and the second-best-selling touring act of the decade, behind only the Dave Matthews Band. she grossed $522.2 million during the decade, a large portion of that sum coming from her five-year residency at Caesars Palace. On 17 February 2010, Dion released into theatres a documentary film about her Taking Chances Tour, titled, Celine: Through the Eyes of the World. The documentary shows behind-the-scenes footage of her both onstage and offstage, along with footage of her with her family as they travelled the world with her. The distributor is the Sony Pictures subsidiary, Hot Ticket. The film was later released on Blu-ray and DVD on 4 May 2010, along with the CD/DVD, Taking Chances World Tour: The Concert. At the 52nd Grammy Awards in February 2010, Dion joined Carrie Underwood, Usher, Jennifer Hudson, and Smokey Robinson to perform the song "Earth Song" during the 3-D Michael Jackson tribute. In January 2010, The Los Angeles Times presented its annual list of the top ten largest earners of the year, revealing that Dion took the top spot for the entire decade, with $US747.9 million in total revenue from 2000–2009. The largest haul came from ticket sales, totalling $522.2 million. Additionally, she was named "Artist of the Decade" in her native Canadian province of Québec, announced by the Montréal-based newspaper, Le Journal de Québec in 2009 December. A public online survey asked responders to vote for whom they believe deserved the above-mentioned accolade. Furthermore, in a May 2010 Harris Poll, Dion was named the most popular musician in the United States, ahead of U2, Elvis Presley, and The Beatles while factoring in gender, political affiliations, geographic region of residence, and income. Specifically, she was the most popular musician in the female demographic, as well as among all Democrats, those who live in the eastern United States and southern United States, and those who have incomes between US$35k and US$74.9k. In September 2010, she released the single "Voler", a duet with French singer Michel Sardou. The song was later included on Sardou's album. In addition, it was announced in October 2010 that Dion wrote and composed a new song for Canadian singer, Marc Dupré entitled "Entre deux mondes". 2011–2014: Celine, Sans attendre, and Loved Me Back to Life In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. In 2018, Billboard stated her residency Celine is the second most successful residency of all time. By the end of 2011, Dion has sold 331,000 albums (despite not releasing any studio album since 2007) and 956,000 digital tracks in the United States. For a record sixth time, she performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, she appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, she released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, she made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. She began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. In June 2013, Dion co-produced the show titled "Voices" by Véronic DiCaire at the Bally’s Hotel & Casino’s Jubilee Theatre and was presented 145 times up until 2015. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Céline une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. 2014–present: Husband's death, Encore un soir, Courage, and return to Vegas On 13 August 2014, Dion announced the indefinite postponement of all her show business activities, including her concert residency at Caesars Palace in Las Vegas, and the cancellation of her Asia Tour, because of the worsening of her husband's health after he underwent the removal of a cancerous tumor in December 2013. However, on 20 March 2015, she announced that she would be returning to The Colosseum at Caesars Palace in late August 2015. On 14 January 2016, she cancelled the rest of the January performances due to her husband's and her brother's death from cancer. Dion resumed the residency on 23 February to a sold-out crowd and rave reviews. In October 2015, Dion announced on social media that she had begun working on a new French album, posting a photo by the side of Algerian singer Zaho. Dion's French single, "Encore un soir", was released on 24 May 2016. On 20 May, she released a cover of Queen's song "The Show Must Go On", featuring Lindsey Stirling on violin. She performed "The Show Must Go On" at the 2016 Billboard Music Awards on 22 May, and received the Billboard Icon Award (presented to her by her son, René-Charles Angélil) in recognition of her career spanning over three decades. The singer's new French album, Encore un soir, was released on 26 August 2016. It features fifteen tracks performed in French and, according to the singer, has a personal choice of the songs – more uplifting lyrics were chosen. Encore un soir topped the charts in France, Canada, Belgium and Switzerland, and was certified Diamond in France, 2× Platinum in Canada and Platinum in Belgium and Switzerland. It has sold over 1.5 million copies worldwide. In 2016 and 2017, Dion toured Europe and Canada with two sold-out concert tours. On 9 September 2016, she released "Recovering", a song written for her by Pink after Dion's husband René Angélil died in January 2016. Dion also recorded "How Does a Moment Last Forever" for the Beauty and the Beast: Original Motion Picture Soundtrack, released in March 2017. Her compilation, Un peu de nous topped the chart in France in July and August 2017. On 3 May 2018, she released the single "Ashes" from the film Deadpool 2. The remix version of the song topped the US Dance Club Songs chart in July 2018. From June to August 2018, she toured the Asia-Pacific region and grossed $56.5 million from 22 shows. On 24 September 2018, she announced the end of her Las Vegas residency Celine, with the final date set for 8 June 2019. She is working on a new English album. In January 2019, she performed "A Change Is Gonna Come" at the "Aretha! A Grammy Celebration for the Queen of Soul" Franklin's tribute concert, to be broadcast in March 2019. In March 2019, she was one of 11 singers from Quebec, alongside Ginette Reno, Diane Dufresne, Isabelle Boulay, Luce Dufault, Louise Forestier, Laurence Jalbert, Catherine Major, Ariane Moffatt, Marie Denise Pelletier, and Marie-Élaine Thibert, who participated in a supergroup recording of Renée Claude's 1971 single "Tu trouveras la paix" after Claude's diagnosis with Alzheimer's disease was announced. On 3 April 2019, during a Facebook Live event, Dion announced her 2019/2020 Courage World Tour, beginning in Quebec City on 18 September 2019. She also announced a new English language album of the same name, released in November 2019. On 18 September 2019, Dion released three songs, "Lying Down", "Courage", and "Imperfections" from her upcoming album, Courage. On 26 February 2020, Dion released two songs as exclusive Spotify singles: an acoustic version of Imperfections, and a cover of Chris Isaak's Wicked Game. Isaak joined Dion and sang vocals on the track. On 10 June 2020, Dion announced that her Courage World Tour will kick off again in 2021, after the tour was postponed due to the COVID-19 pandemic. On 21 May 2021, it was announced Dion would return to Vegas, in November of the same year, for a limited-run installment of ten dates in collaboration with Resorts World Las Vegas. Billboard listed Dion as the third top paid musician of 2020 (second by female artist), with total of earnings of $17.5 million. On 15 January 2022, a statement posted to Dion's website and social media accounts announced that the U.S. and Canadian concert dates for March-April 2022 were canceled because of “severe and persistent muscle spasms” that are preventing Dion from performing onstage. Artistry Influences Dion cites idols as varied as Michael Jackson, Aretha Franklin, Charles Aznavour, Carole King, Anne Murray, Barbra Streisand, and the Bee Gees, all of whom she would eventually collaborate with. Her music has been influenced by numerous genres, including pop, rock, gospel, R&B, and soul, and her lyrics focus on themes of poverty, world hunger, and spirituality, with an emphasis on love and romance. After the birth of her first child, her work increasingly focused on maternal love. Musical style Dion has faced considerable criticism from critics, who state that her music often retreats behind pop and soul conventions, and is marked by excessive sentimentality. According to Keith Harris of Rolling Stone magazine, "[Dion's] sentimentality is bombastic and defiant rather than demure and retiring ... [she] stands at the end of the chain of drastic devolution that goes Aretha–Whitney–Mariah. Far from being an aberration, Dion actually stands as a symbol of a certain kind of pop sensibility—bigger is better, too much is never enough, and the riper the emotion the more true." Her francophone releases, by contrast, tend to be deeper and more varied than her English releases, and consequently have achieved more credibility. Critics have stated that Dion's involvement in the production aspect of her music is fundamentally lacking, which results in her work being overproduced and impersonal. However, coming from a family in which all of her siblings were musicians, she dabbled in learning how to play instruments like piano and guitar, and practised with a Fender Stratocaster during the recording sessions for her album Falling into You. Occasionally, Dion has contributed to the writing of a handful of her English and French songs, as well as writing a few songs for other artists such as Marc Dupre. Additionally, as her career progressed, she found herself taking charge in the production of her albums. On her first English album, which she recorded before she had a firm command of the English language, she expressed disapproval, which could have been avoided if she had assumed more creative input. By the time she released her second English album Celine Dion, she had assumed more control of the production and recording process, hoping to dispel earlier criticisms. She stated, "On the second album I said, 'Well, I have the choice to be afraid one more time and not be 100% happy, or not be afraid and be part of this album.' This is my album." Besides her contributions to some of her early French albums, Dion wrote a few of the songs on Let's Talk About Love (1997) and These Are Special Times (1998). She is often the subject of media ridicule and parody and is frequently impersonated on shows such as MADtv, Saturday Night Live, South Park, Royal Canadian Air Farce, and This Hour Has 22 Minutes for her strong accent and onstage gesticulations. However, she has stated that she is unaffected by the comments, and is flattered that people take the time to impersonate her. She even invited Ana Gasteyer, who parodied her on SNL, to appear onstage during one of her performances in New York City. While she is rarely politically outspoken, in 2005 following the Hurricane Katrina disaster, Dion appeared on Larry King Live and tearfully criticized the US government's slow response in aiding the victims of the hurricane: "There's people still there waiting to be rescued. To me that is not acceptable ... How can it be so easy to send planes in another country to kill everybody in a second and destroy lives. We need to serve our country." After her interview, she stated, "When I do interviews with Larry King or the big TV shows like that, they put you on the spot, which is very difficult. I do have an opinion, but I'm a singer. I'm not a politician." Voice and timbre Dion once claimed to be a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, Kent Nagano, maestro of the Munich Symphony Orchestra, remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the recording industry during the 1990s, alongside other female artists, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazine's list of "The 100 Outstanding Pop Vocalists". Dion is often compared to Houston and Carey for her vocal style, and to her idol Barbra Streisand for her voice. She is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn." Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Libération, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, she is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that she uses: the Québécois, the French, and the American. Her self-titled 1992 album was promoted with the slogan "Remember the name because you'll never forget the voice." Legacy Dion is regarded as one of pop music's most influential vocalists. She has been referred to as the "Queen of Power Ballads" by the media.. Billboard called Dion the "Queen of Pop". Her music and vocal styling, alongside that of Whitney Houston and Mariah Carey, have been said to shape how the bulk of modern female pop vocalists sing. These three artists have been widely credited with reviving the power ballad, and in doing so reshaping the adult contemporary radio format, making it one of the most popular formats of the 1990s and early 2000s. In 2002, Billboard named her as the "Best-selling contemporary female artist in history". According to producer, musician, and former American Idol judge Randy Jackson, Dion, Houston, and Carey are the voices of the modern era. Music critic and Dion biographer Carl Wilson notes that her "fame and influence is also renewed and expressed regularly these days by American Idol, the largest mass musical phenomenon of the past decade, where Celine's stood solidly in its pantheon of singers for young people to emulate". Many contestants on the countless televised talent competitions that have risen at the turn of the millennium often emulate Dion, Houston and Carey and cite them as idols. MTV also praised Dion by saying: "Céline Dion was better than almost anyone at capitalizing on pop’s ability to articulate feelings in sensational, over-the-top ways." Numerous artists have either mentioned Dion as a major influence or as one of their favourite singers including: Britney Spears, Rihanna, Adele, Josh Groban, Delta Goodrem, Leona Lewis, Jennifer Hudson, Vanessa Hudgens, Kelly Clarkson, Perrie Edwards, Loren Allred, Brazilian singer Wanessa Camargo, Ariana Grande, Sam Smith, Frank Ocean, Ava Max, Charlotte Cardin, and V (from BTS) among many others. Country singer Martina McBride is widely heralded by the press as the Celine Dion of Country music. Many artists have also praised Dion's voice, singing ability or expressed an interest in working with her including Met Opera conductor and musical director Yannick Nézet-Séguin, Beyoncé, Carlos Santana, Elton John, OneRepublic, Coldplay, Sharon Osbourne, Nicole Scherzinger, Ne-Yo, Carole King, Barbra Streisand, Luciano Pavarotti, Bee Gees, Sir George Martin, Justin Bieber, Jean-Jacques Goldman, Drake and Cher. Timbaland stated "Celine has such a beautiful, mesmerizing voice. She is so talented. I think we could create something that is a classic like she is already." Josh Groban remarked "She's a powerhouse. In this day and age, when more and more studio-produced, tiny-tiny voices are being rewarded ... she has this extraordinary instrument." According to Diane Warren, "Celine is the best singer by far of her generation", an opinion shared by Quincy Jones, Tommy Mottola, and David Foster. Moreover, Shania Twain and Jennifer Lopez have praised her dynamic stage presence, with Jennifer Lopez commenting on American Idol: "Celine gets on stage, she owns the stage, she runs all over that stage, she stops that stage." Leona Lewis is also a huge fan of Céline Dion saying "Celine is someone I aspire to be like in every way. "Gosh – I can't wait. I'm in the middle of picking out dresses at the moment. Celine is definitely one of my heroes. She is amazing." American singer and actress Lea Michelle said that she listened to Céline Dion's music while in the process of making her sophomore album 'Places' and cited her as one of her vocal influences. Godmother of Soul Patti LaBelle called Dion as one of the greatest singers ever. Pop singer Kelly Clarkson also praised Dion's vocal ability saying: "she has two sets of lungs when she sings." and also called her the most gifted vocalist on the planet. Dion holds the Guiness World Record for the most Juno Awards won for Album Of The Year (tied with Michael Buble & Arcade Fire). She won 3 out of the 13 nominations she received in the category throughout her career. Dion is the 3rd most decorated artist in Juno Awards history, winning 20 out of the 75 total nominations ever, becoming the most nominated artist in the awards history as well. In 1997-1998, Dion sold more than 60 million albums, and was estimated to sell a record once every 1.2 seconds. In 2017, Dion broke records across the UK as the highest grossing artist at each UK venue where she performed which included dates at the O2 Arena in London, Leeds First Direct Arena, Birmingham’s Barclaycard Arena and the SSE Hydro in Glasgow. John Meglen, president and co-CEO, Concerts West commended her by saying: "She really is the voice of our lifetime." In 2018, there were over 300,000 Taiwanese fans that clambered for the 20,000 tickets available for Célines first concert ever in Taiwan which caused the system to lag for 30 minutes. The demand caused them to add two additional shows eventually. Cultural impact In Francophone music industry On a cultural level, Dion is credited for introducing francophone music to many non-francophone countries around the globe. Her albums D'eux and S'il suffisait d'aimer remain the best selling francophone albums in history, gaining unprecedented success in non-Francophone markets such as the United Kingdom, Poland, Netherlands, Portugal, Greece, Austria, Japan, and New Zealand. According to RFI Musique, she "has done her bit for French music over the years, assuring the success of French songs which would probably never have got beyond Francophone borders without her ... Without Celine, French record sales would be dramatically lower!" In May 2008, she was awarded France's highest award, as Knight of the Legion of Honour by President of France Nicolas Sarkozy. Sarkozy praised Dion and stated: "France thanks you because your talent and success have contributed to the influence of the French language outside our borders". In Las Vegas strip She is also credited for both revitalizing and revolutionizing the entertainment scene in Las Vegas with the gargantuan successes of her residencies there. She signed a multi-million dollar deal worthed $100 million to do a residency in Vegas and is considered one of the most lucrative and risky in the touring industry. Billboard credits Dion as the one who pioneered modern residencies saying: "Since Dion's debut, hundreds of artists have tried their hand at Vegas residencies, including, most recently, Lady Gaga, Bruno Mars, Usher, Luke Bryan, Katy Perry, Rod Stewart and Sting. Once considered the domain of artists long past their peak, today's Las Vegas residency shows are big business, generating millions in sales." Moreover, Billboard also said: "She changed history and she completely changed Las Vegas," said Nelson, who notes the new residencies being announced for artists like Cardi B, Christina Aguilera and Jennifer Lopez aren't really at the same production level or scale of what Dion created with her husband René Angélil, as well as Meglen, Nelson and former AEG CEO Tim Leiweke." Dion is popularly referred as the reigning "Queen of Las Vegas" by various media outlets for her impact and legacy in the city. According to Gary Bongiovanni, president and editor-in-chief of Pollstar, "Celine redefined what artists can do in Las Vegas, helping to make it arguably the busiest entertainment city in the world." Kurt Melien, vice-president of entertainment at Caesar's Palace stated "Celine was a pioneer without question ... Twenty years ago, we couldn't have got someone the stature of Britney Spears to appear in Vegas. Stars likes her would never have considered it if Celine hadn't paved the way. She changed the face of modern Vegas." The Guardian listed Dion's Vegas residency as one of the 50 gigs that changed music, crediting her as the one who revived it, further saying: "it was Céline Dion who turned Caesars into the stage for a glorious pop comeback. Her initial five-year run was followed by a further eight years – and prompted copycat turns by Britney Spears, Pink and Katy Perry. In the economy Regarding her financial impact on Las Vegas, Stephen Brown, director of the Centre for Business and Economic Research in Las Vegas, commented: "People will come to the city just for her and they will spend money and as a consequence, she has an outsized impact on the economy", then adding "Bigger than Elvis, Sinatra and Liberace put together? Definitely." Estimations indicate that Dion's show will create up to 7,000 indirect jobs and around $114 million worth of new economic activity in each of the three years for which she has been contracted. In businesses Forbes also discussed how entrepreneurs can reclaim the power in their business by being like Céline Dion as an example saying: "Well, remember back in 2017 when Dion launched her handbag line? During a press conference, she admitted her late manager (and husband) had always handled everything for her. Every aspect of her shows was pre-decided; every move, appearance and interview was programmed in advance. She just showed up and executed (which she did brilliantly). At the end of her handbag launch press release, she said "Now . . . I'm the boss.” Starting right then and there, she’d be the one calling the shots for her shows, her kids, her handbags and everything else that mattered to her. She was going to do things her way." In Fashion Celine Dion has received various acclaims from fashion critics for reinventing her fashion style over the years. The Guardian called her "The Joyous New Queen of Fashion". Harper's Bazaar also praised Dion for being an ultimate fashion risk-taker and called her a "Fashion Chameleon". Billboard dubbed her as "Streetwear Icon" after recapping the global icon's style evolution through the years. Vogue named her as one of music's most exuberant dressers, beloved as much for her glorious voice as her extravagant sense of style. Tatler discussed in an article how Cardi B might be the next Céline Dion of Paris Fashion Week, proving that Céline is the standard for the occasion. Fashion stylist and image architect Law Roach praised Celine Dion, calling her "The Queen of Camp" & "The Queen of Glitter & Sequins". Dion further cemented her name in the fashion world by wearing the reverse tuxedo at 1999 Academy Awards, which became one of the most talked ensembles of that time. Vogue also listed her iconic 1999 reverse tuxedo as one of the most controversial looks of all time saying it was undeniably the highlight of the year. W also listed the iconic ensemble as one of the most memorable dresses of all time. In February 2020, Sergio Guadarrama, a contestant of Project Runway, copied the idea of reverse tuxedo and claimed it was his original idea and had even claimed that he had no idea about the iconic tuxedo, which left the fans of the show disappointed. Breaking music barriers Vice discussed how Dion's music made impact in Nigerian culture, saying: "By the 2000s, Celine Dion was basically the queen of Nigerian airwaves. It was impossible to watch TV or listen to the radio without hearing her music – either on adverts, or in Nollywood films featuring heartthrobs like Genevieve Nnaji and Ramsey Nouah." Billboard also discussed how Dion’s appearance at Jamaica Jazz & Blues changed the festival’s future. According to Walter Elmore, CEO of Art of Music Productions said Dion is by far the most expensive artist he has ever booked, further saying: “I have already received calls from the management of several major US artists who want to perform here next year because they heard Celine’s comments about our show’s production quality,” Elmore said. “Her performance confirms that we can bring the biggest artists on the planet to our little island.” In 2012, Dion visited Jamaica for the very first time which broke attendance records and caused traffic congestion around the concert venue. Vice discussed how Dion's music has been constant in dancehall clubs for decades, as many Jamaican dancehall artists cover her songs and remixing her ballads into anthems of dance hall. Further adding: "Several current dancehall musicians continue to use utilize Dion’s tunes with the addition of upbeat guitars, pan flutes, and backbeat shuffles that transform the music for consumption by dancehall fans." Being referenced in songs The Canadian comedy music group The Arrogant Worms released an album called Dirt in 1999 which contained a song called "Celine Dion", about the singers' stalker-like affection for her. Dion has also been referred/mentioned in various hit songs including "Dark Fantasy" by Kanye West, "911/Mr. Lonely" by Tyler, the Creator, "That Girl" by Pharrell Williams, "Work" by A$AP Ferg, and "What's The Use" by Mac Miller, to name a few. Cultural honors In 1999, Dion received a star on Canada's Walk of Fame and was inducted into the Canadian Broadcast Hall of Fame. She received a star on the Hollywood Walk of Fame in January 2004, one which she dedicated to her father, who had died the month prior. In May 2003, she placed at No. 10 on VH1's list of "50 Greatest Women of the Video Era". Dion's album Falling into You is included on the Rock and Roll Hall of Fame's Definitive 200 list. "My Heart Will Go On" was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts. In 2021, Dion was ranked by Forbes as the third richest woman in entertainment with an estimated net worth of US$460 million. In August 2008, she received an honorary doctorate in music from the Université Laval in Quebec City. In October 2010, Dion was named a Goodwill Ambassador, a program created by the UN in 1999, sharing this accolade with Oscar-winner Susan Sarandon. She also received several state decorations. In 2004, she was awarded the Society of Singers Lifetime Achievement Award. On 26 July 2013, she was awarded the highest rank of the Order of Canada, the Companion of the Order of Canada, by the Governor General of Canada and the investiture ceremony was held at Citadelle of Quebec, in which they said: "An incomparable artist, she is equally known for her compassion, generosity and commitment to a number of social and humanitarian causes. She is notably the national celebrity patron for Cystic Fibrosis Canada and honorary patron of the CHU Sainte-Justine. In addition, through her foundation, she also helps children in need and their families here in Canada and abroad." By the end of 1998, Dion was recognized by Billboard as the "Woman of the Year". They also stated how Céline's voice was featured in eight charting albums on Billboard 200 year-end chart which sold 18 million units during a calendar year (excluding her own catalog sales and recent releases at that time). West University of Timișoara conducted a research study that analyzes Céline Dion's contributions to global music culture in both spatial and temporal terms, In November 2013, Dion was inducted at the American Gaming Association Hall Of Fame for her outstanding contributions to the growth and stature of the gaming industry. In popular culture Dion was referenced as an antagonist character named "Feline Dion" from the hit animated series Totally Spies! which was aired in an episode in 2013. In 2021, French actress and filmmaker Valérie Lemercier released Aline, a film which fictionalized Dion's life with Lemercier playing a singer named "Aline Dieu". Other activities Business endeavours Les Productions Feeling Inc., also known as Feeling Inc. or just Feeling, is an artist management company based in Laval, Québec, Canada, and owned by Dion and her husband and manager, Rene Angélil. She is also founder of Nickels Restaurant food chain. She and her husband also own Le Mirage Golf Club and Schwartz's Restaurant. In association with Andre Agassi, Steffi Graf and Shaquille O'Neal, she opened a popular night club called Pure, located at Caesars Palace. Dion became an entrepreneur with the establishment of her franchise restaurant Nickels in 1990. She has since divested her interests in the chain and is no longer affiliated with Nickels, as of 1997. In 2003, Dion signed a deal with Coty, Inc. to release Celine Dion Parfums. Her latest fragrance, Signature, was released in September 2011 with an advertising campaign by New York agency Kraftworks NYC. Since its inception, Celine Dion Parfums has grossed over $850 million in retail sales. In October 2004, Air Canada hired Dion as part of their promotional campaign to unveil new service products and an updated livery. "You and I", the theme song sung by Dion, was written by advertising executives working for Air Canada. Dion also launched an eponymous bag and accessories line "Céline Dion Collection". According to Innee-Sedona International, the Asia partner for Bugatti Group said that it already topped $10 million sales after just three collections. Philanthropy Dion has actively supported many charity organizations, worldwide. She has promoted the Canadian Cystic Fibrosis Foundation (CCFF) since 1982, and became the foundation's National Celebrity Patron in 1993. She has an emotional attachment to the foundation; her niece Karine succumbed to the disease at the age of sixteen, in Dion's arms. In 2003, she joined a number of other celebrities, athletes, and politicians, including Josh Groban and Yolanda Adams to support "World Children's Day", a global fundraising effort sponsored by McDonald's. The effort raised money from more than 100 nations and benefited orphanages and children's health organizations. In addition, she has been a major supporter of the T. J. Martell Foundation, the Diana Princess of Wales Memorial Fund, and many health and educational campaigns. During the aftermath of Hurricane Katrina, she donated $1 million to the victims of the storm, and held a fund-raising event for the victims of the 2004 Asian tsunami, which subsequently raised more than $1 million. After the 2008 Sichuan earthquake, she donated $100,000 to China Children & Teenagers' Fund and sent a letter showing her consolation and support. Since 2004, she is involved, alongside husband René Angelil, with the Québec gay community by supporting the publication of health and HIV prevention materials in Gay Globe Magazine, owned by journalist Roger-Luc Chayer. She is also a member of Canadian charity Artists Against Racism. In November 2018, she launched a gender-neutral clothing line for kids, Celinununu. In 2009, Dion joined an effort along with Leonardo DiCaprio, James Cameron and Kate Winslet, to donate money to support the nursing home fees of the then-last living survivor of the sinking of the Titanic, Millvina Dean. The campaign resulted in $30,000 as donation. Personal life As the youngest of 14 children, Dion grew up wearing hand-me-downs and sharing a bed with several sisters. As a baby, she slept in a drawer to save on a crib. She was bullied at school and called "Vampire", owing to her teeth and skinny frame. Local tabloids even dubbed her "Canine Dion" in the teenage years of her career. She often spoke of running home from school to play music in the basement with her brothers and sisters. "I detested school", she would later write in her autobiography. "I had always lived surrounded by adults and children a lot older than me. I learned everything I needed to know from them. As far as I was concerned, real life existed around them." Dion's eldest sister was already in her twenties, married, and pregnant with her first child at the time Dion's mother, Thérèse, was pregnant with Celine. Dion first met René Angélil, her future husband and manager, in 1980, when she was 12 and he was 38, after her brother, Michel Dondalinger Dion, had sent him a demonstration recording of "Ce n'était qu'un rêve" ("It Was Only a Dream/Nothing But A Dream"), a song she, her mother Thérèse, and her brother Jacques Dion had jointly written. Over subsequent years, Angélil guided her to stardom in francophone territories. After the dissolution of Angélil's second marriage, he and Dion took a professional break and he spent the major part of the year in Las Vegas, while Dion was learning English and taking dance and vocal lessons in Montreal. Upon his return, "he avoided being alone with me for too long a time", she said in her 2000 autobiography My Story, My Dream. Meanwhile, she kept a photo of Angélil under her pillow, writing, "Before I fell asleep, I slipped it under the pillow, out of fear that my mother, who always shared a room with me, would find it." She also wrote "Less and less could I hide from myself the fact that I was in love with Rene; I had all the symptoms," and "I was in love with a man I couldn't love, who didn't want me to love him, who didn't want to love me." Dion's mother, who traveled everywhere with the singer until she was 19, was initially wary of her daughter's growing infatuation with a much older and twice-divorced Angélil, but Dion was insistent, telling her mother "I'm not a minor. This is a free country. No one has the right to prevent me from loving whoever I want to." Their professional relationship eventually turned romantic after Dion's win at the Eurovision Song Contest in Dublin in 1988; she was 20. The romance was known to only family and friends for five years, though Dion nearly revealed all in a tearful 1992 interview with journalist Lise Payette. Many years later, Payette penned the song "Je cherche l'ombre" for Dion's 2007 album D'elles. Dion and Angélil became engaged in 1993, on Dion's 25th birthday, and made their relationship public in the liner notes of her 1993 album The Colour of My Love. They married on 17 December 1994, at Notre-Dame Basilica in Montreal, Quebec. On 5 January 2000, Dion and Angélil renewed their wedding vows in Las Vegas. In May 2000, Dion had two small operations at a fertility clinic in New York to improve her chances of conceiving, after deciding to use in vitro fertilization because of years of failed attempts to conceive. Their first son, René-Charles Angélil, was born on 25 January 2001. Dion suffered a miscarriage in 2009. In May 2010, Angélil announced that she was 14 weeks pregnant with twins after a sixth treatment of in vitro fertilization. On Saturday, 23 October 2010, at 11:11 and 11:12 am respectively, Dion gave birth to fraternal twins by Caesarean section at St. Mary's Medical Center in West Palm Beach, Florida, The twins were named Eddy, after Dion's favourite French songwriter, Eddy Marnay, who had also produced her first five albums; and Nelson, after former South African President Nelson Mandela. She appeared with her newborn sons on the cover of 9 December 2010 issue of the Canadian edition of Hello! magazine. On 14 January 2016, Angélil died of throat cancer. His funeral was held on 22 January 2016, in Notre-Dame Basilica in Montreal, where he and Dion wed 21 years earlier. The couple's eldest son, René-Charles, gave the eulogy just three days before his 15th birthday. Following Angélil's death, Dion became the sole owner and president of her management and production companies, including CDA Productions and Les Productions Feeling. Two days after Angélil's deathon what would have been her husband's birthdayDion's brother, Daniel, died aged 59, also of cancer. On 22 March 2018, Dion's management team announced that she had been dealing with hearing irregularities for the previous 12–18 months due to patulous Eustachian tube and would undergo a minimally invasive surgical procedure to correct the problem after ear-drop medications appeared to be no longer working. Owing to her slight frame, Dion has for decades been subject of eating disorder rumors, which she has consistently denied: "I don't have an eating problem, and there's nothing more I can say about it". "My work requires me to be in great physical shape. I wouldn't have been able to live up to a hundred shows a year and travel ceaselessly from one end of the world to the other if I had eaten too much or not enough, or if, as certain magazines have claimed, I made myself throw up after each meal." She has often spoken about having been bullied at school and lacking confidence in her early years in the business: "I didn't have, visually, what it took. I was not pretty, I had teeth problems, and I was very skinny. I didn't fit the mold". Dion took up ballet under the guidance of her former dancer, Naomi Stikeman, who also previously performed for The National Ballet of Canada and La La La Human Steps, and former Cirque du Soleil dancer-turned-fashion-illustrator, Pepe Muñoz, who is also part of her styling team. She is also a skier and a regular at her son René-Charles' hockey games. Dion resides in Henderson, Nevada, in a house she bought with her husband in 2003. She previously owned homes in Montreal, Quebec, and Jupiter Island, Florida. Dion's older son René-Charles Angélil loves music and has tried to follow a musical path. Under the stage name Big Tip, he released in May 2018 on his SoundCloud account 6 rap songs including originals "The Kid", "The Apple" and "Never Stop" and two adaptations from The Weeknd songs, "Catwalks" sampling on The Weeknd's "Sidewalks" and a remix of The Weeknd's "Loft Music" as "Loft Music Remix". He also released the 5-track EP CasiNo. 5 in December 2020 using the artistic name RC Angelil. The EP includes the tracks "Mamba Mentality", "Money, Thrills and Rest", "No Ls", "GG4" (featuring PAKKA) and "LV". Discography French-language studio albums La voix du bon Dieu (1981) Céline Dion chante Noël (1981) Tellement j'ai d'amour... (1982) Les chemins de ma maison (1983) Chants et contes de Noël (1983) Mélanie (1984) C'est pour toi (1985) Incognito (1987) Dion chante Plamondon (1991) D'eux (1995) S'il suffisait d'aimer (1998) 1 fille & 4 types (2003) D'elles (2007) Sans attendre (2012) Encore un soir (2016) English-language studio albums Unison (1990) Celine Dion (1992) The Colour of My Love (1993) Falling into You (1996) Let's Talk About Love (1997) These Are Special Times (1998) A New Day Has Come (2002) One Heart (2003) Miracle (2004) Taking Chances (2007) Loved Me Back to Life (2013) Courage (2019) Concert tours and residencies Tours Les chemins de ma maison (1983–1984) Céline Dion en concert (1985) Tournée Incognito (1988) Unison Tour (1990–1991) Celine Dion in Concert (1992–1993) The Colour of My Love Tour (1994–1995) D'eux Tour (1995–1996) Falling into You: Around the World (1996–1997) Let's Talk About Love World Tour (1998–1999) Taking Chances World Tour (2008–2009) Tournée Européenne 2013 Summer Tour 2016 Celine Dion Live 2017 Celine Dion Live 2018 Courage World Tour (2019–2023) Residencies A New Day... (2003–2007) Celine (2011–2019) Celine (2022) Filmography Touched by an Angel The Nanny All My Children La fureur de Céline Des fleurs sur la neige Quest for Camelot as Juliana (singing voice) Céline sur les Plaines Celine: Through the Eyes of the World Sur la piste du Marsupilami Hell's Kitchen Muppets Most Wanted References Bibliography Céline Dion. Artist direct. Retrieved on 18 December 2005. "Celine Dion". Contemporary Musicians, Volume 25. Gale Group, 1999. "Celine Dion". Newsmakers 1995, Issue 4. Gale Research, 1995. Céline Dion. Rock on the Net. Retrieved 20 November 2005. Céline Dion. The Canadian Encyclopedia. Retrieved 2 July 2006 Céline Dion provided by VH1.com Retrieved 16 August 2005. Dion extends long Las Vegas stint. news.bbc.co.uk. Retrieved 5 November 2005. Durchholz, Daniel. Review: One Heart. St. Louis Post-Dispatch. St. Louis, Mo.: 24 April 2003. p. F.3 The 100 Outstanding Pop Vocalist covemagazine.com Retrieved 1 November 2005. Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties () World Music Awards Diamond Award Retrieved 1 November 2005, (Search by year required) Further reading External links CelineDion.com – Official website operated by Sony Music Canada (English, French). [ Celine Dion] at AllMusic [ Celine Dion] at Billboard.com 1968 births Living people 20th-century Canadian composers 20th-century Canadian women singers 20th-century women composers 21st-century Canadian composers 21st-century Canadian women singers 21st-century women composers 550 Music artists Ballad musicians Businesspeople from Florida Businesspeople from Quebec Canadian businesspeople in retailing Canadian child singers Canadian contemporary R&B singers Canadian dance musicians Canadian expatriate musicians in the United States Canadian women pop singers Canadian women rock singers Canadian women singers Canadian pop pianists Canadian restaurateurs Canadian Roman Catholics Canadian soft rock musicians Canadian sopranos Canadian soul singers Canadian voice actresses Canadian women in business Canadian women philanthropists Canadian women pianists Chevaliers of the Légion d'honneur Chevaliers of the Ordre des Arts et des Lettres Columbia Records artists Companions of the Order of Canada Epic Records artists Eurovision Song Contest entrants for Switzerland Eurovision Song Contest entrants of 1988 Eurovision Song Contest winners FAO Goodwill ambassadors Félix Award winners French-language singers of Canada French Quebecers Grammy Award winners Ivor Novello Award winners Juno Award for Album of the Year winners Juno Award for Artist of the Year winners Juno Award for Dance Recording of the Year winners Juno Award for Francophone Album of the Year winners Juno Award for International Album of the Year winners Juno Award for Single of the Year winners Juno International Achievement Award winners Las Vegas shows Musicians from Las Vegas Officers of the National Order of Quebec People from Charlemagne, Quebec People from Henderson, Nevada People from Jupiter Island, Florida Philanthropists from Florida Philanthropists from Nevada Philanthropists from Quebec Pop rock singers Singers from Quebec Singers with a three-octave vocal range Spanish-language singers of Canada Women restaurateurs World Music Awards winners

C_ae9bb47cde234280b28bfbbd3976fb78_0

What was her next album?

What was Celine Dion's next album after Sans attendre and Loved Me Back to Life?

Celine Dion

In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. Additionally, for a record sixth time, Dion performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, Dion appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, Dion released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, Dion made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. Dion began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. The music video for "Incredible" was uploaded onto Dion's official Vevo channel in early June 2014. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Celine une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. CANNOTANSWER

"Loved Me Back to Life

Céline Marie Claudette Dion (; born 30 March 1968) is a Canadian singer. She is noted for her powerful and technically skilled vocals. Dion is the best-selling Canadian recording artist, and the best-selling French language artist of all time. Her music has incorporated genres such as pop, rock, R&B, gospel, and classical music. Born into a large family from Charlemagne, Quebec, she emerged as a teen star in her home country with a series of French-language albums during the 1980s. She first gained international recognition by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest, where she represented Switzerland. After learning to speak English, she signed on to Epic Records in the United States. In 1990, Dion released her debut English-language album, Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. Her recordings since have been mainly in English and French although she has also sung in Spanish, Italian, German, Latin, Japanese, and Chinese. During the 1990s, she achieved worldwide fame after releasing several best-selling English-language albums in music history, such as Falling into You (1996) and Let's Talk About Love (1997), which were both certified diamond in the US and over 30 million sales worldwide each. She also scored a series of international number-one hits, including "The Power of Love", "Think Twice", "Because You Loved Me", "It's All Coming Back to Me Now", "My Heart Will Go On", and "I'm Your Angel". Dion continued releasing French albums between each English record; D'eux (1995) became the best-selling French-language album of all time, while S'il suffisait d'aimer (1998), Sans attendre (2012), and Encore un soir (2016), were all certified diamond in France. During the 2000s, she built her reputation as a highly successful live performer with A New Day... on the Las Vegas Strip (2003–07), which remains the highest-grossing concert residency of all time, as well as the Taking Chances World Tour (2008–09), one of the highest-grossing concert tours of all time. Dion is also one of the best-selling music artists of all time, with record sales of more than 200 million worldwide. Although her releases have often received mixed critical reception, Dion is regarded as one of pop music's most successful vocalists. She has won five Grammy Awards, including Album of the Year and Record of the Year. Billboard named her the "Queen of Adult Contemporary" for having the most number-one songs on the radio format for a female artist. Dion is the second best-selling female artist in the US during the Nielsen SoundScan, the 8th all-time best-performing top female artist in the United States, and the sixth all-time best-performing female soloist in Billboard 200 history. In 2003, she was honoured by the International Federation of the Phonographic Industry (IFPI) for selling over 50 million albums in Europe. In 2008, Dion was recognized as the Best-selling International Artist in South Africa. Life and career 1968–1989: Early life and career beginnings Dion was born in Charlemagne, Quebec, northeast of Montreal, the youngest of 14 children of Thérèse (née Tanguay, 1927–2020), a homemaker, and Adhémar Dion (1923–2003), a butcher, both of French-Canadian descent. She was raised a Roman Catholic in a poor but, by her own account, happy home in Charlemagne. Music had always been a major part of the Dion family, and she was named after the song "Céline", which French singer Hugues Aufray had recorded two years before her birth. On 13 August 1973, at the age of five, the young Céline made her first public appearance at her brother Michel's wedding, where she performed Christine Charbonneau's song "Du fil, des aiguilles et du coton". She continued to perform with her siblings in her parents' small piano bar called Le Vieux Baril, "The Old Barrel". From an early age, she had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, "I missed my family and my home, but I don't regret having lost my adolescence. I had one dream: I wanted to be a singer." As a child in Quebec, Dion participated in Girl Guide programs as a member of Girl Guides of Canada. At age 12, she collaborated with her mother and her brother Jacques to write and compose her first song, "Ce n'était qu'un rêve", whose title translates as "It Was Only a Dream" or "Nothing But A Dream". Her brother Michel sent the recording to music manager René Angélil, whose name he discovered on the back of a Ginette Reno album. Angélil was moved to tears by Dion's voice and decided to make her a star. In 1981, he mortgaged his home to fund her first record, La voix du bon Dieu, which later became a local No. 1 hit and made her an instant star in Quebec. Her popularity spread to other parts of the world when she competed in the 1982 Yamaha World Popular Song Festival in Tokyo, Japan, and won the musician's award for "Top Performer" as well as the gold medal for "Best Song" with "Tellement j'ai d'amour pour toi". By 1983, in addition to becoming the first Canadian artist to receive a gold record in France for the single "D'amour ou d'amitié" ("Of Love or of Friendship"), Dion had also won several Félix Awards, including "Best Female performer" and "Discovery of the Year". Further success came when she represented Switzerland in the 1988 Eurovision Song Contest with the song "Ne partez pas sans moi" and won the contest by a close margin in Dublin, Ireland. At age 18, after seeing a Michael Jackson performance, Dion told Angélil that she wanted to be a star like Jackson. Though confident in her talent, Angélil realized that her image needed to be changed for her to be marketed worldwide. She receded from the spotlight for a number of months, during which she underwent dental surgery to improve her appearance, and was sent to the École Berlitz in 1989 to polish her English. In 1989, during a concert on the Incognito tournée, she injured her voice. She consulted the otorhinolaryngologist William Gould, who gave her an ultimatum: have immediate surgery on her vocal cords or do not utilize them at all for three weeks. Dion chose the latter and underwent vocal training with William Riley. 1990–1992: Unison, Dion chante Plamondon, and Celine Dion Two years after she learned English, Dion made her debut into the Anglophone market with Unison (1990), the lead single having originally been recorded by Laura Branigan. She incorporated the help of many established musicians, including Vito Luprano and Canadian producer David Foster. The album was largely influenced by 1980s soft rock music that quickly found a niche within the adult contemporary radio format. Unison also hit the right notes with critics: Jim Faber of Entertainment Weekly wrote that her vocals were "tastefully unadorned", and that she never attempted to "bring off styles that are beyond her". Stephen Thomas Erlewine of AllMusic declared it "a fine, sophisticated American debut". Singles from the album included "(If There Was) Any Other Way", "The Last to Know", "Unison", and "Where Does My Heart Beat Now", a mid-tempo soft-rock ballad that made prominent use of the electric guitar. The latter became her first top-ten hit on the US Billboard Hot 100, peaking at number four. In 1991, Dion was a featured soloist on "Voices That Care", a tribute to American troops fighting in Operation Desert Storm. Her real international breakthrough came when she duetted with Peabo Bryson on the title track to Disney's animated film Beauty and the Beast (1991). It became her first top-ten hit in the UK and her second top-ten hit in the United States. The song earned its songwriters an Academy Award for Best Song and gave Dion her first Grammy Award for Best Pop Performance by a Duo or Group with Vocal. "Beauty and the Beast" served as the lead single from her 1992 self-titled album, which, like her debut, had a strong pop rock influence combined with elements of soul and classical music. Owing to the success of the lead-off single and her collaborations with David Foster and Diane Warren, the album was even more well-received commercially than Unison; it was certified diamond in Canada and double platinum in the US. The album's second single "If You Asked Me To" (a cover of Patti LaBelle's song from the 1989 movie Licence to Kill) became her first number-one single in Canada and peaked at number four on the US Billboard Hot 100. Also during this time, Dion released the Francophone album Dion chante Plamondon. The album consisted mostly of covers, but featured four new songs: "Des mots qui sonnent", "Je danse dans ma tête", "Quelqu'un que j'aime, quelqu'un qui m'aime", and "L'amour existe encore". It was originally released in Canada and France during the 1991–1992 period, then later received an international release in 1994, the first French Celine Dion album to do so. "Un garçon pas comme les autres (Ziggy)" became a smash hit in France, reaching No. 2 and being certified gold. In Quebec, the album was certified Gold the day it was released. By 1992, Unison, Céline Dion, and numerous high-profile media appearances had propelled Dion to superstardom in North America. She had achieved one of her main objectives: wedging her way into the Anglophone market and achieving fame. However, while she was experiencing rising success in the US, her French fans in Canada criticized her for neglecting them. She would later rebuff these criticisms at the 1991 Félix Awards show, where, after winning "English Artist of the Year", she openly refused to accept the award. She asserted that she was—and would always be—a French, not an English, artist. Apart from her commercial success, there were also changes in her personal life, as Angélil, who was 26 years her senior, transitioned from manager to lover. However, the relationship was kept a secret as they both feared that the public would find their relations inappropriate. 1993–1995: The Colour of My Love and D'eux In 1993, Dion announced her feelings for her manager by declaring him "the colour of [her] love" in the dedication section of her third English-language album The Colour of My Love. However, instead of criticizing their relationship as she had feared, fans embraced the couple. Eventually, Angélil and Dion married in an extravagant wedding ceremony on 17 December 1994, which was broadcast live on Canadian television. As with most of her catalogue, The Colour of My Love had over-riding themes of love and romance. It became her most successful record up to that point, selling more than six million copies in the US, two million in Canada, and peaking at No. 1 in many countries. The album also spawned Dion's first US, Canadian, and Australian No. 1 single "The Power of Love" (a remake of Jennifer Rush's 1985 hit), which would become her signature hit in various nations until she reached new career heights in the late 1990s. The single "When I Fall in Love", a duet with Clive Griffin, achieved moderate success on the US and Canadian charts and was nominated for two Grammy Awards, winning one. The Colour of My Love also became Dion's first major hit in Europe, particularly in the United Kingdom. Both the album and the single "Think Twice" simultaneously occupied the top of the British charts for five consecutive weeks. "Think Twice", which remained at No. 1 for seven weeks, eventually became the fourth single by a female artist to sell in excess of one million copies in the UK while the album was eventually certified five-times platinum for two million copies sold. Dion kept to her French roots and continued to release many Francophone recordings between each English record. Generally, they achieved more credibility than her English-language works. She released À l'Olympia, a live album that was recorded during one of her concerts at the Paris Olympia in 1994. It had one promotional single, a live version of "Calling You", which peaked at seventy-five on the French Singles Chart. She also recorded a bilingual version of "Petit Papa Noël" with Alvin and the Chipmunks for the 1994 holiday album A Very Merry Chipmunk. D'eux (also known as The French Album in the United States), was released in 1995, and it would go on to become the best-selling French-language album of all time. The album was mostly written and produced by Jean-Jacques Goldman, and amassed huge success with the singles "Pour que tu m'aimes encore" and "Je sais pas". "Pour que tu m'aimes encore" reached No. 1 in France and stayed at the top position for twelve weeks. It was later certified Platinum in France. The single reached the top ten in the UK and Ireland, a rare accomplishment for a French song. The second single off the album, "Je sais pas", reached No. 1 on the French Singles Chart as well and was certified Silver there. During the mid-1990s and onward, Dion's albums were generally constructed on the basis of melodramatic soft rock ballads, with sprinklings of up-tempo pop and rare forays into other genres. She collaborated with many renowned writers and producers such as Jim Steinman and David Foster, who helped her to develop a signature sound. While critical reviews fluctuated, her releases performed increasingly well on the international charts, and in 1996, she won the World Music Award for "World's Best-selling Female Recording Artist of the Year" for the third time. By the mid-1990s, she had established herself as one of the best-selling artists in the world. 1996–1999: Falling into You, Let's Talk About Love, and S'il suffisait d'aimer In the five years since her debut English language album in 1990, Billboard stated that she had already sold 40 million albums worldwide. Falling into You (1996), Dion's fourth English-language album, presented the singer at the height of her popularity and showed a further progression of her music. In an attempt to reach a wider audience, the album combined many elements, such as complex orchestral sounds, African chanting, and elaborate musical effects. Additionally, instruments like the violin, Spanish guitar, trombone, the cavaquinho, and saxophone created a new sound. The singles encompassed a variety of musical styles. The title track "Falling into You" and "River Deep – Mountain High" (a Tina Turner cover) made prominent use of percussion instruments; "It's All Coming Back to Me Now" (produced by its writer Jim Steinman) and a remake of Eric Carmen's "All by Myself" maintained a soft-rock atmosphere, combined with the classical sound of the piano; and the No. 1 single "Because You Loved Me", which was written by Diane Warren, was a pop ballad that served as the theme to the 1996 film Up Close and Personal. Falling into You garnered career-best reviews for Dion. While Dan Leroy wrote that it was not very different from her previous work, and Stephen Holden of The New York Times and Natalie Nichols of the Los Angeles Times wrote that the album was formulaic, other critics, such as Chuck Eddy of Entertainment Weekly, Stephen Thomas Erlewine of AllMusic, and Daniel Durchholz, lavished the album as "compelling", "passionate", "stylish", "elegant", and "remarkably well-crafted". Falling into You became Dion's most critically and commercially successful album: it topped the charts in many countries and became one of the best-selling albums of all time. In 2013, CBC Music ranked Falling into You 33rd in their list of the 100 greatest Canadian albums ever. In the United States, the album reached No. 1, and was later certified 11× Platinum for over 11 million copies shipped. In Canada, the album was certified diamond for over one million copies shipped. The IFPI certified Falling into You 9× Platinum, an accolade that has been given to only two other albums in history, with one of the two being Dion's own album, Let's Talk About Love. The album also won Grammy Awards for Best Pop Album and the academy's highest honour, Album of the Year. Dion was asked to perform "The Power of the Dream" at the opening ceremony of the 1996 Atlanta Olympic Games. In March 1996, she launched the Falling into You Tour in support of her new album, performing concerts around the world for over a year. She followed Falling into You with Let's Talk About Love (1997), which was publicized as its sequel. The recording process took place in London, New York City, and Los Angeles, and featured a host of special guests, such as Barbra Streisand on "Tell Him"; the Bee Gees on "Immortality"; and tenor Luciano Pavarotti on "I Hate You Then I Love You". Other musicians included Carole King, Sir George Martin, Bryan Adams and Jamaican singer Diana King, who added a reggae tinge to "Treat Her Like a Lady". Let's Talk About Love was another major success, reaching No. 1 all over the world, attaining platinum status in twenty-four sales territories, and becoming the fastest selling album of her career. In the United States, the album topped the chart in its seventh week of release, and was later certified 10× Platinum in the US for over 10 million copies shipped. In Canada, the album sold 230,212 copies in its first week of release, which remains a record. It was eventually certified diamond in Canada for over one million copies shipped. The most successful single from the album was the classically influenced ballad "My Heart Will Go On", which was written and composed by James Horner and Will Jennings, and produced by Horner and Walter Afanasieff. Serving as the love theme for the 1997 blockbuster film Titanic, the song topped the charts across the world and became Dion's signature song. Horner and Jennings won the Academy Award and Golden Globe for Best Original Song, while Dion herself garnered two Grammy Awards for Best Female Pop Vocal Performance and the most coveted, Record of the Year, (the song itself won four awards, but two were presented to the songwriters). "My Heart Will Go On" and "Think Twice" made her the only female artist in the UK to have two singles to sell more than a million copies. In support of her album, she embarked on the Let's Talk About Love Tour between 1998 and 1999. Dion ended the 1990s with three more extremely successful albums: the Christmas album These Are Special Times (1998), the French-language album, S'il suffisait d'aimer, and the compilation album All the Way... A Decade of Song (1999). On These Are Special Times, she co-wrote the song "Don't Save It All for Christmas Day" along with Ric Wake and Peter Zizzo. The album was her most classically influenced yet, with orchestral arrangements found on virtually every track. The album featured the single "I'm Your Angel" (a duet with R. Kelly), which became her fourth US No. 1 single, and a smash hit across the world. The album's second single "The Prayer" (a duet with Andrea Bocelli) served as the soundtrack of the 1998 film Quest for Camelot and won a Golden Globe Award for Best Original Song. All the Way... A Decade of Song drew together her most successful hits coupled with seven new songs, including the lead-off single "That's the Way It Is", a cover of Roberta Flack's "The First Time Ever I Saw Your Face", and "All the Way", a duet with Frank Sinatra. All the Way became one of the best-selling compilation albums of all time, reaching No. 1 in the United States for three weeks. The album was later certified 7x Platinum in the US for 7 million copies shipped. It also topped the charts in the UK, Canada, and Australia. Her last French-language studio album of the 1990s, S'il suffisait d'aimer, was very successful as well, topping the charts in every major French-speaking country, including France, Switzerland, the Wallonia region of Belgium, and Canada. In France, the album was certified diamond, selling 1.5 million copies. By the end of the 1990s, Dion had sold more than 130 million records worldwide, and had won a slew of industry awards. Her status as one of the music industry's biggest pop divas was further solidified when she was asked to perform on VH1's Divas Live special in 1998, with superstars Aretha Franklin, Gloria Estefan, Shania Twain, and Mariah Carey. That year, she also received two of the highest Canadian honours: "Officer of the Order of Canada for Outstanding Contribution to the World of Contemporary Music" and "Officer of the National Order of Quebec". A year later, she was inducted into the Canadian Broadcast Hall of Fame, and was honoured with a star on Canada's Walk of Fame. Starting from the mid-1990s, the pop rock influence that was more noticeable in her earlier releases was replaced by a more mature feel. Additionally, the recurring theme of "love" dominated most of her releases, which led to some critics dismissing her music as banal. Other critics, like Elysa Gardner and Jose F. Promis, praised her voice during this period, describing it as a "technical marvel". Steve Dollar, in his review of These Are Special Times, opined that Dion was a "vocal Olympian for whom there ain't no mountain—or scale—high enough". 2000–2003: Hiatus, A New Day Has Come, One Heart, and 1 fille & 4 types After releasing and promoting thirteen albums during the 1990s, Dion stated that she needed to settle down, and announced on her latest album All the Way... A Decade of Song, that she needed to take a step back from the spotlight and enjoy life. Angélil's diagnosis with esophageal cancer also prompted her to hiatus. While on break, she was unable to escape the spotlight. In 2000, the National Enquirer published a false story about the singer. Brandishing a picture of Dion and her husband, the magazine misquoted her, printing the headline, "Celine — 'I'm Pregnant With Twins!'" She later sued the magazine for more than $20million. The editors of the Enquirer printed an apology and a full retraction to her in the next issue, and donated money to the American Cancer Society in honour of her and her husband. A year after the incident, after undergoing fertility treatments, she gave birth to a son, René-Charles Dion Angélil, on 25 January 2001, in Florida. Following the 11 September attacks, Dion returned to the music scene, and in a televised performance sang "God Bless America" at the benefit concert America: A Tribute to Heroes. Chuck Taylor of Billboard wrote, "the performance ... brings to mind what has made her one of the celebrated vocalists of our time: the ability to render emotion that shakes the soul. Affecting, meaningful, and filled with grace, this is a musical reflection to share with all of us still searching for ways to cope." She performed it again in 2003 during pregame festivities for Super Bowl XXXVII in San Diego. In December 2001, she published her autobiography My Story, My Dream which chronicled her rags-to-riches story. Dion ended her three-year sabbatical from the music industry with the aptly titled album A New Day Has Come, released in March 2002. The album was her most personal yet, with songs focusing on her motherhood and maturation as a woman such as "A New Day Has Come", and "Goodbye's (The Saddest Word)". She stated: "becoming a mother makes you a grown-up." She stated, "A New Day Has Come, for Rene, for me, is the baby. It has everything to do with the baby ... That song "A New Day Has Come" represents very well the mood I'm feeling right now. It represents the whole album." A New Day Has Come debuted at No. 1 in more than 17 countries, including the United Kingdom and Canada. In the United States, the album debuted at No. 1 on the Billboard 200, with first-week sales of 527,000 copies; marking her first No. 1 debut on the chart, as well as the highest debut sales week of her career in the US. It was eventually certified 3× Platinum in the United States, and 6× Platinum in Canada. While the album was commercially successful, critical reviews suggested that it was "forgettable" and the lyrics were "lifeless". Both Rob Sheffield of Rolling Stone magazine, and Ken Tucker of Entertainment Weekly, stated that Dion's music had not developed much during her break, and classed her material as trite and mediocre. Sal Cinquemani of Slant Magazine called the album "a lengthy collection of drippy, gooey pop fluffer-nutter". The first single off the album, A New Day Has Come peaked at No.22 on the Billboard Hot 100 charts, being an airplay-only release. On the Hot Adult Contemporary Tracks, however, the song spent 21 consecutive weeks at No. 1, breaking the record for the longest span at the top. The previous record holders were Phil Collins' You'll Be in My Heart and Dion's own Because You Loved Me, both of which lasted nineteen weeks at No. 1. The album's next single, "I'm Alive", was featured on the soundtrack for Stuart Little 2 (2002), and was ranked number 2 on the European Hot 100 Singles, and number 6 on the Hot Adult Contemporary Tracks in the United States. During 2002, she performed for many benefit concerts, including her second appearance on VH1 Divas Live, a concert to benefit the VH1 Save The Music Foundation, alongside Cher, Anastacia, Dixie Chicks, Mary J. Blige, Whitney Houston, Cyndi Lauper, Shakira, and Stevie Nicks. In conjunction with an endorsement deal with Chrysler, she released One Heart (2003), an album that represented her appreciation for life. The album largely consisted of pop and dance music—a deviation from the soaring, melodramatic ballads, for which she had been known. Although the album achieved moderate success, One Heart was met with mixed criticism, and words such as "predictable" and "banal" appeared even in the most lenient reviews. A cover of the 1989 Cyndi Lauper hit "I Drove All Night", released to launch her advertising campaign with Chrysler, incorporated elements of dance-pop and rock and roll. The advertising deal was met with criticism, with some stating that Dion was trying to cater to her sponsors. After One Heart, she released her next English-language studio album, Miracle (2004). Miracle was a multimedia project conceived by Dion and Australian photographer Anne Geddes and had a theme centring on babies and motherhood. The album was filled with lullabies and other songs of maternal love and inspiration, including covers of Louis Armstrong's "What a Wonderful World" and John Lennon's "Beautiful Boy". The reviews for Miracle were mixed. Stephen Thomas Erlewine of Allmusic.com gave the album three of out five stars, stating, "The worst you can say about the record is that there are no surprises, but the audience for this record doesn't want surprises; they want comfort, whether it arrives in polished music or artsy photos of newborns, and Miracle provides both, which makes it appealing for those expectant or new mothers in Dion's audience." Chuck Taylor of Billboard magazine wrote that the single "Beautiful Boy" was "an unexpected gem" and called Dion "a timeless, enormously versatile artist", Chuck Arnold of People Magazine, however, labelled the album as excessively sentimental, while Nancy Miller of Entertainment Weekly opined that "the whole earth-mama act is just opportunism, reborn". Miracle debuted at No. 4 on the Billboard 200 chart and No. 1 in Canada and was eventually certified platinum by the RIAA. The francophone album 1 fille & 4 types (1 Girl & 4 Guys), released in October 2003, fared better than her previous two releases and showed her trying to distance herself from the "diva" image. She recruited Jean-Jacques Goldman, Gildas Arzel, Eric Benzi, and Jacques Veneruso, with whom she had previously worked on two of her best-selling French albums S'il suffisait d'aimer and D'eux. Labeled "the album of pleasure" by Dion herself, the album cover showed her in a simple and relaxed manner, contrary to the choreographed poses usually found on her album covers. The album achieved widespread commercial success in France, Canada, and Belgium where it reached No. 1. In France, the album debuted at No. 1 and was later certified 2× platinum after selling over 700,000 copies. Critic Stephen Erlewine of AllMusic wrote that Dion's vocals were "back at top of their game" and that she was "getting back to pop basics and performing at a level unheard in a while". Though her albums were commercially successful, they did not achieve the sales or the reception of her previous works. Her songs received less airplay as radio became less embracing of balladeers like Dion, Carey, and Houston, and was focused on more up-tempo, Urban/Hip-hop songs. By 2004, Dion had accumulated sales of more than 175 million albums worldwide and received the Chopard Diamond Award from the World Music Awards for her achievements. According to the official World Music Awards website, the award is rare; it is "not presented every year" and an artist can be presented with the award only for selling "over 100 million albums during their career". 2003–2007: A New Day... In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza, A New Day..., at The Colosseum at Caesars Palace, Las Vegas. This move was generally seen as risky, but journalist Miriam Nunzio wrote that it was "one of the smartest business decisions in years by any major recording artist". Dion conceived the show after seeing O by Franco Dragone during her break from recording, and it premiered on 25 March 2003, in a 4,000-seat arena specifically designed for her show and modelled after the Roman Colosseum. Many stars attended the opening night including Dick Clark, Alan Thicke, Kathy Griffin, Lance Bass, and Justin Timberlake, who hosted the television special. The show, directed by Dragone and choreographed by the renowned Mia Michaels, was a combination of dance, music, and visual effects. It included Dion performing her biggest hits against an array of dancers and special effects. Reviewer Mike Weatherford felt that, at first, Dion was not as relaxed as she should be, and at times, it was hard to find the singer among the excessive stage ornamentation and dancers. However, he noted that the show had become more enjoyable over the course of its run, because of her improved stage-presence and simplified costumes. The show was well-received by audiences, despite the complaints of expensive tickets; it routinely sold out until its end in late 2007. Ticket prices averaged $135.33. According to Pollstar, Dion sold 322,000 tickets and grossed US$43.9 million in the first half of 2005, and by July 2005, she had sold out 315 out of 384 shows. By the end of 2005, she grossed more than US$76 million, placing sixth on Billboard's Money Makers list for 2005. Because of the show's success, her contract was extended into 2007 for an undisclosed sum. On 5 January 2007, it was announced that the show would end on 15 December 2007, with tickets for the period after October 2007 having gone on sale from 1 March. According to Billboard, A New Day... is the most successful residency of all time, grossing over US$385 million ($ million in dollars) and drawing nearly three million people to 717 shows. The Live in Las Vegas: A New Day... DVD was released on 10 December 2007, in Europe and the following day in North America. 2007–2010: D'elles, Taking Chances, and Taking Chances Tour On 21 May 2007, Dion released the French-language album D'elles (About Them), which debuted at the top of the Canadian album charts, selling 72,200 copies in its first week. It marked her tenth No. 1 album in the SoundScan era, and her eighth to debut at the top position. In Canada, the album has been certified 2× platinum, and within the first month had already shipped half a million units worldwide. D'Elles also reached No. 1 in France and Belgium. The first single "Et s'il n'en restait qu'une (je serais celle-là)" (meaning "And If There Was Only One Woman Left (I Would Be That One)") debuted at the top of the French singles chart a month earlier. Later that same year, she released the English album Taking Chances on 12 November in Europe, and 13 November in North America. Her first English studio album since 2003's One Heart, it featured pop, R&B, and rock inspired music. For this album, she collaborated with John Shanks and ex-Evanescence guitarist Ben Moody, as well as Kristian Lundin, Peer Åström, Linda Perry, Japanese singer Yuna Ito, and R&B singer-songwriter Ne-Yo. Dion stated, "I think this album represents a positive evolution in my career ... I'm feeling strong, maybe a little gutsier than in the past, and just as passionate about music and life as I ever was." She launched her year-long worldwide Taking Chances Tour on 14 February 2008, in South Africa, performing 132 dates in stadiums and arenas across five continents. The Taking Chances Tour was a great success in the United States, reaching the No. 1 spot on the Billboard Boxscore, having sold out every concert in the US and Canada. In addition, she appeared on Idol Gives Back for a second year in a row. Dion was nominated for six Juno Awards in 2008, adding to her 53 previous nominations (an all-time record). Her nominations included Artist of the Year, Pop Album of the Year (for Taking Chances), Francophone Album of the Year (for D'elles) and Album of the Year (for both Taking Chances and D'elles). The following year, she was nominated for 3 Juno Awards including the Fan Choice Award, Song of the Year (for Taking Chances), and Music DVD of the Year (for Live in Las Vegas — A New Day...) On 22 August 2008, Dion presented a free outdoor concert, mostly in French, on the Plains of Abraham, in Québec City, Canada, for the 400th anniversary of Québec City. The celebration gathered approximately 490,000 people. The concert, called Céline sur les Plaines, was released on DVD on 11 November 2008, in Québec and was released on 20 May 2009, in France. Late October 2008 saw the worldwide release of a comprehensive English-language greatest hits album, My Love: Essential Collection. In May 2009, Dion was named the 20th best-selling artist of the decade and the second-best-selling female artist of the decade in the United States, selling an estimated 17.57 million copies of her albums there since 2000. In June 2009, Forbes reported that she earned $100 million during 2008. In December 2009, Pollstar announced that she was the best-selling solo touring act of the decade and the second-best-selling touring act of the decade, behind only the Dave Matthews Band. she grossed $522.2 million during the decade, a large portion of that sum coming from her five-year residency at Caesars Palace. On 17 February 2010, Dion released into theatres a documentary film about her Taking Chances Tour, titled, Celine: Through the Eyes of the World. The documentary shows behind-the-scenes footage of her both onstage and offstage, along with footage of her with her family as they travelled the world with her. The distributor is the Sony Pictures subsidiary, Hot Ticket. The film was later released on Blu-ray and DVD on 4 May 2010, along with the CD/DVD, Taking Chances World Tour: The Concert. At the 52nd Grammy Awards in February 2010, Dion joined Carrie Underwood, Usher, Jennifer Hudson, and Smokey Robinson to perform the song "Earth Song" during the 3-D Michael Jackson tribute. In January 2010, The Los Angeles Times presented its annual list of the top ten largest earners of the year, revealing that Dion took the top spot for the entire decade, with $US747.9 million in total revenue from 2000–2009. The largest haul came from ticket sales, totalling $522.2 million. Additionally, she was named "Artist of the Decade" in her native Canadian province of Québec, announced by the Montréal-based newspaper, Le Journal de Québec in 2009 December. A public online survey asked responders to vote for whom they believe deserved the above-mentioned accolade. Furthermore, in a May 2010 Harris Poll, Dion was named the most popular musician in the United States, ahead of U2, Elvis Presley, and The Beatles while factoring in gender, political affiliations, geographic region of residence, and income. Specifically, she was the most popular musician in the female demographic, as well as among all Democrats, those who live in the eastern United States and southern United States, and those who have incomes between US$35k and US$74.9k. In September 2010, she released the single "Voler", a duet with French singer Michel Sardou. The song was later included on Sardou's album. In addition, it was announced in October 2010 that Dion wrote and composed a new song for Canadian singer, Marc Dupré entitled "Entre deux mondes". 2011–2014: Celine, Sans attendre, and Loved Me Back to Life In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. In 2018, Billboard stated her residency Celine is the second most successful residency of all time. By the end of 2011, Dion has sold 331,000 albums (despite not releasing any studio album since 2007) and 956,000 digital tracks in the United States. For a record sixth time, she performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, she appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, she released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, she made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. She began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. In June 2013, Dion co-produced the show titled "Voices" by Véronic DiCaire at the Bally’s Hotel & Casino’s Jubilee Theatre and was presented 145 times up until 2015. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Céline une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. 2014–present: Husband's death, Encore un soir, Courage, and return to Vegas On 13 August 2014, Dion announced the indefinite postponement of all her show business activities, including her concert residency at Caesars Palace in Las Vegas, and the cancellation of her Asia Tour, because of the worsening of her husband's health after he underwent the removal of a cancerous tumor in December 2013. However, on 20 March 2015, she announced that she would be returning to The Colosseum at Caesars Palace in late August 2015. On 14 January 2016, she cancelled the rest of the January performances due to her husband's and her brother's death from cancer. Dion resumed the residency on 23 February to a sold-out crowd and rave reviews. In October 2015, Dion announced on social media that she had begun working on a new French album, posting a photo by the side of Algerian singer Zaho. Dion's French single, "Encore un soir", was released on 24 May 2016. On 20 May, she released a cover of Queen's song "The Show Must Go On", featuring Lindsey Stirling on violin. She performed "The Show Must Go On" at the 2016 Billboard Music Awards on 22 May, and received the Billboard Icon Award (presented to her by her son, René-Charles Angélil) in recognition of her career spanning over three decades. The singer's new French album, Encore un soir, was released on 26 August 2016. It features fifteen tracks performed in French and, according to the singer, has a personal choice of the songs – more uplifting lyrics were chosen. Encore un soir topped the charts in France, Canada, Belgium and Switzerland, and was certified Diamond in France, 2× Platinum in Canada and Platinum in Belgium and Switzerland. It has sold over 1.5 million copies worldwide. In 2016 and 2017, Dion toured Europe and Canada with two sold-out concert tours. On 9 September 2016, she released "Recovering", a song written for her by Pink after Dion's husband René Angélil died in January 2016. Dion also recorded "How Does a Moment Last Forever" for the Beauty and the Beast: Original Motion Picture Soundtrack, released in March 2017. Her compilation, Un peu de nous topped the chart in France in July and August 2017. On 3 May 2018, she released the single "Ashes" from the film Deadpool 2. The remix version of the song topped the US Dance Club Songs chart in July 2018. From June to August 2018, she toured the Asia-Pacific region and grossed $56.5 million from 22 shows. On 24 September 2018, she announced the end of her Las Vegas residency Celine, with the final date set for 8 June 2019. She is working on a new English album. In January 2019, she performed "A Change Is Gonna Come" at the "Aretha! A Grammy Celebration for the Queen of Soul" Franklin's tribute concert, to be broadcast in March 2019. In March 2019, she was one of 11 singers from Quebec, alongside Ginette Reno, Diane Dufresne, Isabelle Boulay, Luce Dufault, Louise Forestier, Laurence Jalbert, Catherine Major, Ariane Moffatt, Marie Denise Pelletier, and Marie-Élaine Thibert, who participated in a supergroup recording of Renée Claude's 1971 single "Tu trouveras la paix" after Claude's diagnosis with Alzheimer's disease was announced. On 3 April 2019, during a Facebook Live event, Dion announced her 2019/2020 Courage World Tour, beginning in Quebec City on 18 September 2019. She also announced a new English language album of the same name, released in November 2019. On 18 September 2019, Dion released three songs, "Lying Down", "Courage", and "Imperfections" from her upcoming album, Courage. On 26 February 2020, Dion released two songs as exclusive Spotify singles: an acoustic version of Imperfections, and a cover of Chris Isaak's Wicked Game. Isaak joined Dion and sang vocals on the track. On 10 June 2020, Dion announced that her Courage World Tour will kick off again in 2021, after the tour was postponed due to the COVID-19 pandemic. On 21 May 2021, it was announced Dion would return to Vegas, in November of the same year, for a limited-run installment of ten dates in collaboration with Resorts World Las Vegas. Billboard listed Dion as the third top paid musician of 2020 (second by female artist), with total of earnings of $17.5 million. On 15 January 2022, a statement posted to Dion's website and social media accounts announced that the U.S. and Canadian concert dates for March-April 2022 were canceled because of “severe and persistent muscle spasms” that are preventing Dion from performing onstage. Artistry Influences Dion cites idols as varied as Michael Jackson, Aretha Franklin, Charles Aznavour, Carole King, Anne Murray, Barbra Streisand, and the Bee Gees, all of whom she would eventually collaborate with. Her music has been influenced by numerous genres, including pop, rock, gospel, R&B, and soul, and her lyrics focus on themes of poverty, world hunger, and spirituality, with an emphasis on love and romance. After the birth of her first child, her work increasingly focused on maternal love. Musical style Dion has faced considerable criticism from critics, who state that her music often retreats behind pop and soul conventions, and is marked by excessive sentimentality. According to Keith Harris of Rolling Stone magazine, "[Dion's] sentimentality is bombastic and defiant rather than demure and retiring ... [she] stands at the end of the chain of drastic devolution that goes Aretha–Whitney–Mariah. Far from being an aberration, Dion actually stands as a symbol of a certain kind of pop sensibility—bigger is better, too much is never enough, and the riper the emotion the more true." Her francophone releases, by contrast, tend to be deeper and more varied than her English releases, and consequently have achieved more credibility. Critics have stated that Dion's involvement in the production aspect of her music is fundamentally lacking, which results in her work being overproduced and impersonal. However, coming from a family in which all of her siblings were musicians, she dabbled in learning how to play instruments like piano and guitar, and practised with a Fender Stratocaster during the recording sessions for her album Falling into You. Occasionally, Dion has contributed to the writing of a handful of her English and French songs, as well as writing a few songs for other artists such as Marc Dupre. Additionally, as her career progressed, she found herself taking charge in the production of her albums. On her first English album, which she recorded before she had a firm command of the English language, she expressed disapproval, which could have been avoided if she had assumed more creative input. By the time she released her second English album Celine Dion, she had assumed more control of the production and recording process, hoping to dispel earlier criticisms. She stated, "On the second album I said, 'Well, I have the choice to be afraid one more time and not be 100% happy, or not be afraid and be part of this album.' This is my album." Besides her contributions to some of her early French albums, Dion wrote a few of the songs on Let's Talk About Love (1997) and These Are Special Times (1998). She is often the subject of media ridicule and parody and is frequently impersonated on shows such as MADtv, Saturday Night Live, South Park, Royal Canadian Air Farce, and This Hour Has 22 Minutes for her strong accent and onstage gesticulations. However, she has stated that she is unaffected by the comments, and is flattered that people take the time to impersonate her. She even invited Ana Gasteyer, who parodied her on SNL, to appear onstage during one of her performances in New York City. While she is rarely politically outspoken, in 2005 following the Hurricane Katrina disaster, Dion appeared on Larry King Live and tearfully criticized the US government's slow response in aiding the victims of the hurricane: "There's people still there waiting to be rescued. To me that is not acceptable ... How can it be so easy to send planes in another country to kill everybody in a second and destroy lives. We need to serve our country." After her interview, she stated, "When I do interviews with Larry King or the big TV shows like that, they put you on the spot, which is very difficult. I do have an opinion, but I'm a singer. I'm not a politician." Voice and timbre Dion once claimed to be a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, Kent Nagano, maestro of the Munich Symphony Orchestra, remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the recording industry during the 1990s, alongside other female artists, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazine's list of "The 100 Outstanding Pop Vocalists". Dion is often compared to Houston and Carey for her vocal style, and to her idol Barbra Streisand for her voice. She is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn." Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Libération, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, she is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that she uses: the Québécois, the French, and the American. Her self-titled 1992 album was promoted with the slogan "Remember the name because you'll never forget the voice." Legacy Dion is regarded as one of pop music's most influential vocalists. She has been referred to as the "Queen of Power Ballads" by the media.. Billboard called Dion the "Queen of Pop". Her music and vocal styling, alongside that of Whitney Houston and Mariah Carey, have been said to shape how the bulk of modern female pop vocalists sing. These three artists have been widely credited with reviving the power ballad, and in doing so reshaping the adult contemporary radio format, making it one of the most popular formats of the 1990s and early 2000s. In 2002, Billboard named her as the "Best-selling contemporary female artist in history". According to producer, musician, and former American Idol judge Randy Jackson, Dion, Houston, and Carey are the voices of the modern era. Music critic and Dion biographer Carl Wilson notes that her "fame and influence is also renewed and expressed regularly these days by American Idol, the largest mass musical phenomenon of the past decade, where Celine's stood solidly in its pantheon of singers for young people to emulate". Many contestants on the countless televised talent competitions that have risen at the turn of the millennium often emulate Dion, Houston and Carey and cite them as idols. MTV also praised Dion by saying: "Céline Dion was better than almost anyone at capitalizing on pop’s ability to articulate feelings in sensational, over-the-top ways." Numerous artists have either mentioned Dion as a major influence or as one of their favourite singers including: Britney Spears, Rihanna, Adele, Josh Groban, Delta Goodrem, Leona Lewis, Jennifer Hudson, Vanessa Hudgens, Kelly Clarkson, Perrie Edwards, Loren Allred, Brazilian singer Wanessa Camargo, Ariana Grande, Sam Smith, Frank Ocean, Ava Max, Charlotte Cardin, and V (from BTS) among many others. Country singer Martina McBride is widely heralded by the press as the Celine Dion of Country music. Many artists have also praised Dion's voice, singing ability or expressed an interest in working with her including Met Opera conductor and musical director Yannick Nézet-Séguin, Beyoncé, Carlos Santana, Elton John, OneRepublic, Coldplay, Sharon Osbourne, Nicole Scherzinger, Ne-Yo, Carole King, Barbra Streisand, Luciano Pavarotti, Bee Gees, Sir George Martin, Justin Bieber, Jean-Jacques Goldman, Drake and Cher. Timbaland stated "Celine has such a beautiful, mesmerizing voice. She is so talented. I think we could create something that is a classic like she is already." Josh Groban remarked "She's a powerhouse. In this day and age, when more and more studio-produced, tiny-tiny voices are being rewarded ... she has this extraordinary instrument." According to Diane Warren, "Celine is the best singer by far of her generation", an opinion shared by Quincy Jones, Tommy Mottola, and David Foster. Moreover, Shania Twain and Jennifer Lopez have praised her dynamic stage presence, with Jennifer Lopez commenting on American Idol: "Celine gets on stage, she owns the stage, she runs all over that stage, she stops that stage." Leona Lewis is also a huge fan of Céline Dion saying "Celine is someone I aspire to be like in every way. "Gosh – I can't wait. I'm in the middle of picking out dresses at the moment. Celine is definitely one of my heroes. She is amazing." American singer and actress Lea Michelle said that she listened to Céline Dion's music while in the process of making her sophomore album 'Places' and cited her as one of her vocal influences. Godmother of Soul Patti LaBelle called Dion as one of the greatest singers ever. Pop singer Kelly Clarkson also praised Dion's vocal ability saying: "she has two sets of lungs when she sings." and also called her the most gifted vocalist on the planet. Dion holds the Guiness World Record for the most Juno Awards won for Album Of The Year (tied with Michael Buble & Arcade Fire). She won 3 out of the 13 nominations she received in the category throughout her career. Dion is the 3rd most decorated artist in Juno Awards history, winning 20 out of the 75 total nominations ever, becoming the most nominated artist in the awards history as well. In 1997-1998, Dion sold more than 60 million albums, and was estimated to sell a record once every 1.2 seconds. In 2017, Dion broke records across the UK as the highest grossing artist at each UK venue where she performed which included dates at the O2 Arena in London, Leeds First Direct Arena, Birmingham’s Barclaycard Arena and the SSE Hydro in Glasgow. John Meglen, president and co-CEO, Concerts West commended her by saying: "She really is the voice of our lifetime." In 2018, there were over 300,000 Taiwanese fans that clambered for the 20,000 tickets available for Célines first concert ever in Taiwan which caused the system to lag for 30 minutes. The demand caused them to add two additional shows eventually. Cultural impact In Francophone music industry On a cultural level, Dion is credited for introducing francophone music to many non-francophone countries around the globe. Her albums D'eux and S'il suffisait d'aimer remain the best selling francophone albums in history, gaining unprecedented success in non-Francophone markets such as the United Kingdom, Poland, Netherlands, Portugal, Greece, Austria, Japan, and New Zealand. According to RFI Musique, she "has done her bit for French music over the years, assuring the success of French songs which would probably never have got beyond Francophone borders without her ... Without Celine, French record sales would be dramatically lower!" In May 2008, she was awarded France's highest award, as Knight of the Legion of Honour by President of France Nicolas Sarkozy. Sarkozy praised Dion and stated: "France thanks you because your talent and success have contributed to the influence of the French language outside our borders". In Las Vegas strip She is also credited for both revitalizing and revolutionizing the entertainment scene in Las Vegas with the gargantuan successes of her residencies there. She signed a multi-million dollar deal worthed $100 million to do a residency in Vegas and is considered one of the most lucrative and risky in the touring industry. Billboard credits Dion as the one who pioneered modern residencies saying: "Since Dion's debut, hundreds of artists have tried their hand at Vegas residencies, including, most recently, Lady Gaga, Bruno Mars, Usher, Luke Bryan, Katy Perry, Rod Stewart and Sting. Once considered the domain of artists long past their peak, today's Las Vegas residency shows are big business, generating millions in sales." Moreover, Billboard also said: "She changed history and she completely changed Las Vegas," said Nelson, who notes the new residencies being announced for artists like Cardi B, Christina Aguilera and Jennifer Lopez aren't really at the same production level or scale of what Dion created with her husband René Angélil, as well as Meglen, Nelson and former AEG CEO Tim Leiweke." Dion is popularly referred as the reigning "Queen of Las Vegas" by various media outlets for her impact and legacy in the city. According to Gary Bongiovanni, president and editor-in-chief of Pollstar, "Celine redefined what artists can do in Las Vegas, helping to make it arguably the busiest entertainment city in the world." Kurt Melien, vice-president of entertainment at Caesar's Palace stated "Celine was a pioneer without question ... Twenty years ago, we couldn't have got someone the stature of Britney Spears to appear in Vegas. Stars likes her would never have considered it if Celine hadn't paved the way. She changed the face of modern Vegas." The Guardian listed Dion's Vegas residency as one of the 50 gigs that changed music, crediting her as the one who revived it, further saying: "it was Céline Dion who turned Caesars into the stage for a glorious pop comeback. Her initial five-year run was followed by a further eight years – and prompted copycat turns by Britney Spears, Pink and Katy Perry. In the economy Regarding her financial impact on Las Vegas, Stephen Brown, director of the Centre for Business and Economic Research in Las Vegas, commented: "People will come to the city just for her and they will spend money and as a consequence, she has an outsized impact on the economy", then adding "Bigger than Elvis, Sinatra and Liberace put together? Definitely." Estimations indicate that Dion's show will create up to 7,000 indirect jobs and around $114 million worth of new economic activity in each of the three years for which she has been contracted. In businesses Forbes also discussed how entrepreneurs can reclaim the power in their business by being like Céline Dion as an example saying: "Well, remember back in 2017 when Dion launched her handbag line? During a press conference, she admitted her late manager (and husband) had always handled everything for her. Every aspect of her shows was pre-decided; every move, appearance and interview was programmed in advance. She just showed up and executed (which she did brilliantly). At the end of her handbag launch press release, she said "Now . . . I'm the boss.” Starting right then and there, she’d be the one calling the shots for her shows, her kids, her handbags and everything else that mattered to her. She was going to do things her way." In Fashion Celine Dion has received various acclaims from fashion critics for reinventing her fashion style over the years. The Guardian called her "The Joyous New Queen of Fashion". Harper's Bazaar also praised Dion for being an ultimate fashion risk-taker and called her a "Fashion Chameleon". Billboard dubbed her as "Streetwear Icon" after recapping the global icon's style evolution through the years. Vogue named her as one of music's most exuberant dressers, beloved as much for her glorious voice as her extravagant sense of style. Tatler discussed in an article how Cardi B might be the next Céline Dion of Paris Fashion Week, proving that Céline is the standard for the occasion. Fashion stylist and image architect Law Roach praised Celine Dion, calling her "The Queen of Camp" & "The Queen of Glitter & Sequins". Dion further cemented her name in the fashion world by wearing the reverse tuxedo at 1999 Academy Awards, which became one of the most talked ensembles of that time. Vogue also listed her iconic 1999 reverse tuxedo as one of the most controversial looks of all time saying it was undeniably the highlight of the year. W also listed the iconic ensemble as one of the most memorable dresses of all time. In February 2020, Sergio Guadarrama, a contestant of Project Runway, copied the idea of reverse tuxedo and claimed it was his original idea and had even claimed that he had no idea about the iconic tuxedo, which left the fans of the show disappointed. Breaking music barriers Vice discussed how Dion's music made impact in Nigerian culture, saying: "By the 2000s, Celine Dion was basically the queen of Nigerian airwaves. It was impossible to watch TV or listen to the radio without hearing her music – either on adverts, or in Nollywood films featuring heartthrobs like Genevieve Nnaji and Ramsey Nouah." Billboard also discussed how Dion’s appearance at Jamaica Jazz & Blues changed the festival’s future. According to Walter Elmore, CEO of Art of Music Productions said Dion is by far the most expensive artist he has ever booked, further saying: “I have already received calls from the management of several major US artists who want to perform here next year because they heard Celine’s comments about our show’s production quality,” Elmore said. “Her performance confirms that we can bring the biggest artists on the planet to our little island.” In 2012, Dion visited Jamaica for the very first time which broke attendance records and caused traffic congestion around the concert venue. Vice discussed how Dion's music has been constant in dancehall clubs for decades, as many Jamaican dancehall artists cover her songs and remixing her ballads into anthems of dance hall. Further adding: "Several current dancehall musicians continue to use utilize Dion’s tunes with the addition of upbeat guitars, pan flutes, and backbeat shuffles that transform the music for consumption by dancehall fans." Being referenced in songs The Canadian comedy music group The Arrogant Worms released an album called Dirt in 1999 which contained a song called "Celine Dion", about the singers' stalker-like affection for her. Dion has also been referred/mentioned in various hit songs including "Dark Fantasy" by Kanye West, "911/Mr. Lonely" by Tyler, the Creator, "That Girl" by Pharrell Williams, "Work" by A$AP Ferg, and "What's The Use" by Mac Miller, to name a few. Cultural honors In 1999, Dion received a star on Canada's Walk of Fame and was inducted into the Canadian Broadcast Hall of Fame. She received a star on the Hollywood Walk of Fame in January 2004, one which she dedicated to her father, who had died the month prior. In May 2003, she placed at No. 10 on VH1's list of "50 Greatest Women of the Video Era". Dion's album Falling into You is included on the Rock and Roll Hall of Fame's Definitive 200 list. "My Heart Will Go On" was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts. In 2021, Dion was ranked by Forbes as the third richest woman in entertainment with an estimated net worth of US$460 million. In August 2008, she received an honorary doctorate in music from the Université Laval in Quebec City. In October 2010, Dion was named a Goodwill Ambassador, a program created by the UN in 1999, sharing this accolade with Oscar-winner Susan Sarandon. She also received several state decorations. In 2004, she was awarded the Society of Singers Lifetime Achievement Award. On 26 July 2013, she was awarded the highest rank of the Order of Canada, the Companion of the Order of Canada, by the Governor General of Canada and the investiture ceremony was held at Citadelle of Quebec, in which they said: "An incomparable artist, she is equally known for her compassion, generosity and commitment to a number of social and humanitarian causes. She is notably the national celebrity patron for Cystic Fibrosis Canada and honorary patron of the CHU Sainte-Justine. In addition, through her foundation, she also helps children in need and their families here in Canada and abroad." By the end of 1998, Dion was recognized by Billboard as the "Woman of the Year". They also stated how Céline's voice was featured in eight charting albums on Billboard 200 year-end chart which sold 18 million units during a calendar year (excluding her own catalog sales and recent releases at that time). West University of Timișoara conducted a research study that analyzes Céline Dion's contributions to global music culture in both spatial and temporal terms, In November 2013, Dion was inducted at the American Gaming Association Hall Of Fame for her outstanding contributions to the growth and stature of the gaming industry. In popular culture Dion was referenced as an antagonist character named "Feline Dion" from the hit animated series Totally Spies! which was aired in an episode in 2013. In 2021, French actress and filmmaker Valérie Lemercier released Aline, a film which fictionalized Dion's life with Lemercier playing a singer named "Aline Dieu". Other activities Business endeavours Les Productions Feeling Inc., also known as Feeling Inc. or just Feeling, is an artist management company based in Laval, Québec, Canada, and owned by Dion and her husband and manager, Rene Angélil. She is also founder of Nickels Restaurant food chain. She and her husband also own Le Mirage Golf Club and Schwartz's Restaurant. In association with Andre Agassi, Steffi Graf and Shaquille O'Neal, she opened a popular night club called Pure, located at Caesars Palace. Dion became an entrepreneur with the establishment of her franchise restaurant Nickels in 1990. She has since divested her interests in the chain and is no longer affiliated with Nickels, as of 1997. In 2003, Dion signed a deal with Coty, Inc. to release Celine Dion Parfums. Her latest fragrance, Signature, was released in September 2011 with an advertising campaign by New York agency Kraftworks NYC. Since its inception, Celine Dion Parfums has grossed over $850 million in retail sales. In October 2004, Air Canada hired Dion as part of their promotional campaign to unveil new service products and an updated livery. "You and I", the theme song sung by Dion, was written by advertising executives working for Air Canada. Dion also launched an eponymous bag and accessories line "Céline Dion Collection". According to Innee-Sedona International, the Asia partner for Bugatti Group said that it already topped $10 million sales after just three collections. Philanthropy Dion has actively supported many charity organizations, worldwide. She has promoted the Canadian Cystic Fibrosis Foundation (CCFF) since 1982, and became the foundation's National Celebrity Patron in 1993. She has an emotional attachment to the foundation; her niece Karine succumbed to the disease at the age of sixteen, in Dion's arms. In 2003, she joined a number of other celebrities, athletes, and politicians, including Josh Groban and Yolanda Adams to support "World Children's Day", a global fundraising effort sponsored by McDonald's. The effort raised money from more than 100 nations and benefited orphanages and children's health organizations. In addition, she has been a major supporter of the T. J. Martell Foundation, the Diana Princess of Wales Memorial Fund, and many health and educational campaigns. During the aftermath of Hurricane Katrina, she donated $1 million to the victims of the storm, and held a fund-raising event for the victims of the 2004 Asian tsunami, which subsequently raised more than $1 million. After the 2008 Sichuan earthquake, she donated $100,000 to China Children & Teenagers' Fund and sent a letter showing her consolation and support. Since 2004, she is involved, alongside husband René Angelil, with the Québec gay community by supporting the publication of health and HIV prevention materials in Gay Globe Magazine, owned by journalist Roger-Luc Chayer. She is also a member of Canadian charity Artists Against Racism. In November 2018, she launched a gender-neutral clothing line for kids, Celinununu. In 2009, Dion joined an effort along with Leonardo DiCaprio, James Cameron and Kate Winslet, to donate money to support the nursing home fees of the then-last living survivor of the sinking of the Titanic, Millvina Dean. The campaign resulted in $30,000 as donation. Personal life As the youngest of 14 children, Dion grew up wearing hand-me-downs and sharing a bed with several sisters. As a baby, she slept in a drawer to save on a crib. She was bullied at school and called "Vampire", owing to her teeth and skinny frame. Local tabloids even dubbed her "Canine Dion" in the teenage years of her career. She often spoke of running home from school to play music in the basement with her brothers and sisters. "I detested school", she would later write in her autobiography. "I had always lived surrounded by adults and children a lot older than me. I learned everything I needed to know from them. As far as I was concerned, real life existed around them." Dion's eldest sister was already in her twenties, married, and pregnant with her first child at the time Dion's mother, Thérèse, was pregnant with Celine. Dion first met René Angélil, her future husband and manager, in 1980, when she was 12 and he was 38, after her brother, Michel Dondalinger Dion, had sent him a demonstration recording of "Ce n'était qu'un rêve" ("It Was Only a Dream/Nothing But A Dream"), a song she, her mother Thérèse, and her brother Jacques Dion had jointly written. Over subsequent years, Angélil guided her to stardom in francophone territories. After the dissolution of Angélil's second marriage, he and Dion took a professional break and he spent the major part of the year in Las Vegas, while Dion was learning English and taking dance and vocal lessons in Montreal. Upon his return, "he avoided being alone with me for too long a time", she said in her 2000 autobiography My Story, My Dream. Meanwhile, she kept a photo of Angélil under her pillow, writing, "Before I fell asleep, I slipped it under the pillow, out of fear that my mother, who always shared a room with me, would find it." She also wrote "Less and less could I hide from myself the fact that I was in love with Rene; I had all the symptoms," and "I was in love with a man I couldn't love, who didn't want me to love him, who didn't want to love me." Dion's mother, who traveled everywhere with the singer until she was 19, was initially wary of her daughter's growing infatuation with a much older and twice-divorced Angélil, but Dion was insistent, telling her mother "I'm not a minor. This is a free country. No one has the right to prevent me from loving whoever I want to." Their professional relationship eventually turned romantic after Dion's win at the Eurovision Song Contest in Dublin in 1988; she was 20. The romance was known to only family and friends for five years, though Dion nearly revealed all in a tearful 1992 interview with journalist Lise Payette. Many years later, Payette penned the song "Je cherche l'ombre" for Dion's 2007 album D'elles. Dion and Angélil became engaged in 1993, on Dion's 25th birthday, and made their relationship public in the liner notes of her 1993 album The Colour of My Love. They married on 17 December 1994, at Notre-Dame Basilica in Montreal, Quebec. On 5 January 2000, Dion and Angélil renewed their wedding vows in Las Vegas. In May 2000, Dion had two small operations at a fertility clinic in New York to improve her chances of conceiving, after deciding to use in vitro fertilization because of years of failed attempts to conceive. Their first son, René-Charles Angélil, was born on 25 January 2001. Dion suffered a miscarriage in 2009. In May 2010, Angélil announced that she was 14 weeks pregnant with twins after a sixth treatment of in vitro fertilization. On Saturday, 23 October 2010, at 11:11 and 11:12 am respectively, Dion gave birth to fraternal twins by Caesarean section at St. Mary's Medical Center in West Palm Beach, Florida, The twins were named Eddy, after Dion's favourite French songwriter, Eddy Marnay, who had also produced her first five albums; and Nelson, after former South African President Nelson Mandela. She appeared with her newborn sons on the cover of 9 December 2010 issue of the Canadian edition of Hello! magazine. On 14 January 2016, Angélil died of throat cancer. His funeral was held on 22 January 2016, in Notre-Dame Basilica in Montreal, where he and Dion wed 21 years earlier. The couple's eldest son, René-Charles, gave the eulogy just three days before his 15th birthday. Following Angélil's death, Dion became the sole owner and president of her management and production companies, including CDA Productions and Les Productions Feeling. Two days after Angélil's deathon what would have been her husband's birthdayDion's brother, Daniel, died aged 59, also of cancer. On 22 March 2018, Dion's management team announced that she had been dealing with hearing irregularities for the previous 12–18 months due to patulous Eustachian tube and would undergo a minimally invasive surgical procedure to correct the problem after ear-drop medications appeared to be no longer working. Owing to her slight frame, Dion has for decades been subject of eating disorder rumors, which she has consistently denied: "I don't have an eating problem, and there's nothing more I can say about it". "My work requires me to be in great physical shape. I wouldn't have been able to live up to a hundred shows a year and travel ceaselessly from one end of the world to the other if I had eaten too much or not enough, or if, as certain magazines have claimed, I made myself throw up after each meal." She has often spoken about having been bullied at school and lacking confidence in her early years in the business: "I didn't have, visually, what it took. I was not pretty, I had teeth problems, and I was very skinny. I didn't fit the mold". Dion took up ballet under the guidance of her former dancer, Naomi Stikeman, who also previously performed for The National Ballet of Canada and La La La Human Steps, and former Cirque du Soleil dancer-turned-fashion-illustrator, Pepe Muñoz, who is also part of her styling team. She is also a skier and a regular at her son René-Charles' hockey games. Dion resides in Henderson, Nevada, in a house she bought with her husband in 2003. She previously owned homes in Montreal, Quebec, and Jupiter Island, Florida. Dion's older son René-Charles Angélil loves music and has tried to follow a musical path. Under the stage name Big Tip, he released in May 2018 on his SoundCloud account 6 rap songs including originals "The Kid", "The Apple" and "Never Stop" and two adaptations from The Weeknd songs, "Catwalks" sampling on The Weeknd's "Sidewalks" and a remix of The Weeknd's "Loft Music" as "Loft Music Remix". He also released the 5-track EP CasiNo. 5 in December 2020 using the artistic name RC Angelil. The EP includes the tracks "Mamba Mentality", "Money, Thrills and Rest", "No Ls", "GG4" (featuring PAKKA) and "LV". Discography French-language studio albums La voix du bon Dieu (1981) Céline Dion chante Noël (1981) Tellement j'ai d'amour... (1982) Les chemins de ma maison (1983) Chants et contes de Noël (1983) Mélanie (1984) C'est pour toi (1985) Incognito (1987) Dion chante Plamondon (1991) D'eux (1995) S'il suffisait d'aimer (1998) 1 fille & 4 types (2003) D'elles (2007) Sans attendre (2012) Encore un soir (2016) English-language studio albums Unison (1990) Celine Dion (1992) The Colour of My Love (1993) Falling into You (1996) Let's Talk About Love (1997) These Are Special Times (1998) A New Day Has Come (2002) One Heart (2003) Miracle (2004) Taking Chances (2007) Loved Me Back to Life (2013) Courage (2019) Concert tours and residencies Tours Les chemins de ma maison (1983–1984) Céline Dion en concert (1985) Tournée Incognito (1988) Unison Tour (1990–1991) Celine Dion in Concert (1992–1993) The Colour of My Love Tour (1994–1995) D'eux Tour (1995–1996) Falling into You: Around the World (1996–1997) Let's Talk About Love World Tour (1998–1999) Taking Chances World Tour (2008–2009) Tournée Européenne 2013 Summer Tour 2016 Celine Dion Live 2017 Celine Dion Live 2018 Courage World Tour (2019–2023) Residencies A New Day... (2003–2007) Celine (2011–2019) Celine (2022) Filmography Touched by an Angel The Nanny All My Children La fureur de Céline Des fleurs sur la neige Quest for Camelot as Juliana (singing voice) Céline sur les Plaines Celine: Through the Eyes of the World Sur la piste du Marsupilami Hell's Kitchen Muppets Most Wanted References Bibliography Céline Dion. Artist direct. Retrieved on 18 December 2005. "Celine Dion". Contemporary Musicians, Volume 25. Gale Group, 1999. "Celine Dion". Newsmakers 1995, Issue 4. Gale Research, 1995. Céline Dion. Rock on the Net. Retrieved 20 November 2005. Céline Dion. The Canadian Encyclopedia. Retrieved 2 July 2006 Céline Dion provided by VH1.com Retrieved 16 August 2005. Dion extends long Las Vegas stint. news.bbc.co.uk. Retrieved 5 November 2005. Durchholz, Daniel. Review: One Heart. St. Louis Post-Dispatch. St. Louis, Mo.: 24 April 2003. p. F.3 The 100 Outstanding Pop Vocalist covemagazine.com Retrieved 1 November 2005. Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties () World Music Awards Diamond Award Retrieved 1 November 2005, (Search by year required) Further reading External links CelineDion.com – Official website operated by Sony Music Canada (English, French). [ Celine Dion] at AllMusic [ Celine Dion] at Billboard.com 1968 births Living people 20th-century Canadian composers 20th-century Canadian women singers 20th-century women composers 21st-century Canadian composers 21st-century Canadian women singers 21st-century women composers 550 Music artists Ballad musicians Businesspeople from Florida Businesspeople from Quebec Canadian businesspeople in retailing Canadian child singers Canadian contemporary R&B singers Canadian dance musicians Canadian expatriate musicians in the United States Canadian women pop singers Canadian women rock singers Canadian women singers Canadian pop pianists Canadian restaurateurs Canadian Roman Catholics Canadian soft rock musicians Canadian sopranos Canadian soul singers Canadian voice actresses Canadian women in business Canadian women philanthropists Canadian women pianists Chevaliers of the Légion d'honneur Chevaliers of the Ordre des Arts et des Lettres Columbia Records artists Companions of the Order of Canada Epic Records artists Eurovision Song Contest entrants for Switzerland Eurovision Song Contest entrants of 1988 Eurovision Song Contest winners FAO Goodwill ambassadors Félix Award winners French-language singers of Canada French Quebecers Grammy Award winners Ivor Novello Award winners Juno Award for Album of the Year winners Juno Award for Artist of the Year winners Juno Award for Dance Recording of the Year winners Juno Award for Francophone Album of the Year winners Juno Award for International Album of the Year winners Juno Award for Single of the Year winners Juno International Achievement Award winners Las Vegas shows Musicians from Las Vegas Officers of the National Order of Quebec People from Charlemagne, Quebec People from Henderson, Nevada People from Jupiter Island, Florida Philanthropists from Florida Philanthropists from Nevada Philanthropists from Quebec Pop rock singers Singers from Quebec Singers with a three-octave vocal range Spanish-language singers of Canada Women restaurateurs World Music Awards winners

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Was this album popular in the United States?

Were the albums Sans attendre and Loved Me Back to Life by Celine Dion popular in the United States?

Celine Dion

In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. Additionally, for a record sixth time, Dion performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, Dion appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, Dion released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, Dion made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. Dion began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. The music video for "Incredible" was uploaded onto Dion's official Vevo channel in early June 2014. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Celine une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. CANNOTANSWER

CANNOTANSWER

Céline Marie Claudette Dion (; born 30 March 1968) is a Canadian singer. She is noted for her powerful and technically skilled vocals. Dion is the best-selling Canadian recording artist, and the best-selling French language artist of all time. Her music has incorporated genres such as pop, rock, R&B, gospel, and classical music. Born into a large family from Charlemagne, Quebec, she emerged as a teen star in her home country with a series of French-language albums during the 1980s. She first gained international recognition by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest, where she represented Switzerland. After learning to speak English, she signed on to Epic Records in the United States. In 1990, Dion released her debut English-language album, Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. Her recordings since have been mainly in English and French although she has also sung in Spanish, Italian, German, Latin, Japanese, and Chinese. During the 1990s, she achieved worldwide fame after releasing several best-selling English-language albums in music history, such as Falling into You (1996) and Let's Talk About Love (1997), which were both certified diamond in the US and over 30 million sales worldwide each. She also scored a series of international number-one hits, including "The Power of Love", "Think Twice", "Because You Loved Me", "It's All Coming Back to Me Now", "My Heart Will Go On", and "I'm Your Angel". Dion continued releasing French albums between each English record; D'eux (1995) became the best-selling French-language album of all time, while S'il suffisait d'aimer (1998), Sans attendre (2012), and Encore un soir (2016), were all certified diamond in France. During the 2000s, she built her reputation as a highly successful live performer with A New Day... on the Las Vegas Strip (2003–07), which remains the highest-grossing concert residency of all time, as well as the Taking Chances World Tour (2008–09), one of the highest-grossing concert tours of all time. Dion is also one of the best-selling music artists of all time, with record sales of more than 200 million worldwide. Although her releases have often received mixed critical reception, Dion is regarded as one of pop music's most successful vocalists. She has won five Grammy Awards, including Album of the Year and Record of the Year. Billboard named her the "Queen of Adult Contemporary" for having the most number-one songs on the radio format for a female artist. Dion is the second best-selling female artist in the US during the Nielsen SoundScan, the 8th all-time best-performing top female artist in the United States, and the sixth all-time best-performing female soloist in Billboard 200 history. In 2003, she was honoured by the International Federation of the Phonographic Industry (IFPI) for selling over 50 million albums in Europe. In 2008, Dion was recognized as the Best-selling International Artist in South Africa. Life and career 1968–1989: Early life and career beginnings Dion was born in Charlemagne, Quebec, northeast of Montreal, the youngest of 14 children of Thérèse (née Tanguay, 1927–2020), a homemaker, and Adhémar Dion (1923–2003), a butcher, both of French-Canadian descent. She was raised a Roman Catholic in a poor but, by her own account, happy home in Charlemagne. Music had always been a major part of the Dion family, and she was named after the song "Céline", which French singer Hugues Aufray had recorded two years before her birth. On 13 August 1973, at the age of five, the young Céline made her first public appearance at her brother Michel's wedding, where she performed Christine Charbonneau's song "Du fil, des aiguilles et du coton". She continued to perform with her siblings in her parents' small piano bar called Le Vieux Baril, "The Old Barrel". From an early age, she had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, "I missed my family and my home, but I don't regret having lost my adolescence. I had one dream: I wanted to be a singer." As a child in Quebec, Dion participated in Girl Guide programs as a member of Girl Guides of Canada. At age 12, she collaborated with her mother and her brother Jacques to write and compose her first song, "Ce n'était qu'un rêve", whose title translates as "It Was Only a Dream" or "Nothing But A Dream". Her brother Michel sent the recording to music manager René Angélil, whose name he discovered on the back of a Ginette Reno album. Angélil was moved to tears by Dion's voice and decided to make her a star. In 1981, he mortgaged his home to fund her first record, La voix du bon Dieu, which later became a local No. 1 hit and made her an instant star in Quebec. Her popularity spread to other parts of the world when she competed in the 1982 Yamaha World Popular Song Festival in Tokyo, Japan, and won the musician's award for "Top Performer" as well as the gold medal for "Best Song" with "Tellement j'ai d'amour pour toi". By 1983, in addition to becoming the first Canadian artist to receive a gold record in France for the single "D'amour ou d'amitié" ("Of Love or of Friendship"), Dion had also won several Félix Awards, including "Best Female performer" and "Discovery of the Year". Further success came when she represented Switzerland in the 1988 Eurovision Song Contest with the song "Ne partez pas sans moi" and won the contest by a close margin in Dublin, Ireland. At age 18, after seeing a Michael Jackson performance, Dion told Angélil that she wanted to be a star like Jackson. Though confident in her talent, Angélil realized that her image needed to be changed for her to be marketed worldwide. She receded from the spotlight for a number of months, during which she underwent dental surgery to improve her appearance, and was sent to the École Berlitz in 1989 to polish her English. In 1989, during a concert on the Incognito tournée, she injured her voice. She consulted the otorhinolaryngologist William Gould, who gave her an ultimatum: have immediate surgery on her vocal cords or do not utilize them at all for three weeks. Dion chose the latter and underwent vocal training with William Riley. 1990–1992: Unison, Dion chante Plamondon, and Celine Dion Two years after she learned English, Dion made her debut into the Anglophone market with Unison (1990), the lead single having originally been recorded by Laura Branigan. She incorporated the help of many established musicians, including Vito Luprano and Canadian producer David Foster. The album was largely influenced by 1980s soft rock music that quickly found a niche within the adult contemporary radio format. Unison also hit the right notes with critics: Jim Faber of Entertainment Weekly wrote that her vocals were "tastefully unadorned", and that she never attempted to "bring off styles that are beyond her". Stephen Thomas Erlewine of AllMusic declared it "a fine, sophisticated American debut". Singles from the album included "(If There Was) Any Other Way", "The Last to Know", "Unison", and "Where Does My Heart Beat Now", a mid-tempo soft-rock ballad that made prominent use of the electric guitar. The latter became her first top-ten hit on the US Billboard Hot 100, peaking at number four. In 1991, Dion was a featured soloist on "Voices That Care", a tribute to American troops fighting in Operation Desert Storm. Her real international breakthrough came when she duetted with Peabo Bryson on the title track to Disney's animated film Beauty and the Beast (1991). It became her first top-ten hit in the UK and her second top-ten hit in the United States. The song earned its songwriters an Academy Award for Best Song and gave Dion her first Grammy Award for Best Pop Performance by a Duo or Group with Vocal. "Beauty and the Beast" served as the lead single from her 1992 self-titled album, which, like her debut, had a strong pop rock influence combined with elements of soul and classical music. Owing to the success of the lead-off single and her collaborations with David Foster and Diane Warren, the album was even more well-received commercially than Unison; it was certified diamond in Canada and double platinum in the US. The album's second single "If You Asked Me To" (a cover of Patti LaBelle's song from the 1989 movie Licence to Kill) became her first number-one single in Canada and peaked at number four on the US Billboard Hot 100. Also during this time, Dion released the Francophone album Dion chante Plamondon. The album consisted mostly of covers, but featured four new songs: "Des mots qui sonnent", "Je danse dans ma tête", "Quelqu'un que j'aime, quelqu'un qui m'aime", and "L'amour existe encore". It was originally released in Canada and France during the 1991–1992 period, then later received an international release in 1994, the first French Celine Dion album to do so. "Un garçon pas comme les autres (Ziggy)" became a smash hit in France, reaching No. 2 and being certified gold. In Quebec, the album was certified Gold the day it was released. By 1992, Unison, Céline Dion, and numerous high-profile media appearances had propelled Dion to superstardom in North America. She had achieved one of her main objectives: wedging her way into the Anglophone market and achieving fame. However, while she was experiencing rising success in the US, her French fans in Canada criticized her for neglecting them. She would later rebuff these criticisms at the 1991 Félix Awards show, where, after winning "English Artist of the Year", she openly refused to accept the award. She asserted that she was—and would always be—a French, not an English, artist. Apart from her commercial success, there were also changes in her personal life, as Angélil, who was 26 years her senior, transitioned from manager to lover. However, the relationship was kept a secret as they both feared that the public would find their relations inappropriate. 1993–1995: The Colour of My Love and D'eux In 1993, Dion announced her feelings for her manager by declaring him "the colour of [her] love" in the dedication section of her third English-language album The Colour of My Love. However, instead of criticizing their relationship as she had feared, fans embraced the couple. Eventually, Angélil and Dion married in an extravagant wedding ceremony on 17 December 1994, which was broadcast live on Canadian television. As with most of her catalogue, The Colour of My Love had over-riding themes of love and romance. It became her most successful record up to that point, selling more than six million copies in the US, two million in Canada, and peaking at No. 1 in many countries. The album also spawned Dion's first US, Canadian, and Australian No. 1 single "The Power of Love" (a remake of Jennifer Rush's 1985 hit), which would become her signature hit in various nations until she reached new career heights in the late 1990s. The single "When I Fall in Love", a duet with Clive Griffin, achieved moderate success on the US and Canadian charts and was nominated for two Grammy Awards, winning one. The Colour of My Love also became Dion's first major hit in Europe, particularly in the United Kingdom. Both the album and the single "Think Twice" simultaneously occupied the top of the British charts for five consecutive weeks. "Think Twice", which remained at No. 1 for seven weeks, eventually became the fourth single by a female artist to sell in excess of one million copies in the UK while the album was eventually certified five-times platinum for two million copies sold. Dion kept to her French roots and continued to release many Francophone recordings between each English record. Generally, they achieved more credibility than her English-language works. She released À l'Olympia, a live album that was recorded during one of her concerts at the Paris Olympia in 1994. It had one promotional single, a live version of "Calling You", which peaked at seventy-five on the French Singles Chart. She also recorded a bilingual version of "Petit Papa Noël" with Alvin and the Chipmunks for the 1994 holiday album A Very Merry Chipmunk. D'eux (also known as The French Album in the United States), was released in 1995, and it would go on to become the best-selling French-language album of all time. The album was mostly written and produced by Jean-Jacques Goldman, and amassed huge success with the singles "Pour que tu m'aimes encore" and "Je sais pas". "Pour que tu m'aimes encore" reached No. 1 in France and stayed at the top position for twelve weeks. It was later certified Platinum in France. The single reached the top ten in the UK and Ireland, a rare accomplishment for a French song. The second single off the album, "Je sais pas", reached No. 1 on the French Singles Chart as well and was certified Silver there. During the mid-1990s and onward, Dion's albums were generally constructed on the basis of melodramatic soft rock ballads, with sprinklings of up-tempo pop and rare forays into other genres. She collaborated with many renowned writers and producers such as Jim Steinman and David Foster, who helped her to develop a signature sound. While critical reviews fluctuated, her releases performed increasingly well on the international charts, and in 1996, she won the World Music Award for "World's Best-selling Female Recording Artist of the Year" for the third time. By the mid-1990s, she had established herself as one of the best-selling artists in the world. 1996–1999: Falling into You, Let's Talk About Love, and S'il suffisait d'aimer In the five years since her debut English language album in 1990, Billboard stated that she had already sold 40 million albums worldwide. Falling into You (1996), Dion's fourth English-language album, presented the singer at the height of her popularity and showed a further progression of her music. In an attempt to reach a wider audience, the album combined many elements, such as complex orchestral sounds, African chanting, and elaborate musical effects. Additionally, instruments like the violin, Spanish guitar, trombone, the cavaquinho, and saxophone created a new sound. The singles encompassed a variety of musical styles. The title track "Falling into You" and "River Deep – Mountain High" (a Tina Turner cover) made prominent use of percussion instruments; "It's All Coming Back to Me Now" (produced by its writer Jim Steinman) and a remake of Eric Carmen's "All by Myself" maintained a soft-rock atmosphere, combined with the classical sound of the piano; and the No. 1 single "Because You Loved Me", which was written by Diane Warren, was a pop ballad that served as the theme to the 1996 film Up Close and Personal. Falling into You garnered career-best reviews for Dion. While Dan Leroy wrote that it was not very different from her previous work, and Stephen Holden of The New York Times and Natalie Nichols of the Los Angeles Times wrote that the album was formulaic, other critics, such as Chuck Eddy of Entertainment Weekly, Stephen Thomas Erlewine of AllMusic, and Daniel Durchholz, lavished the album as "compelling", "passionate", "stylish", "elegant", and "remarkably well-crafted". Falling into You became Dion's most critically and commercially successful album: it topped the charts in many countries and became one of the best-selling albums of all time. In 2013, CBC Music ranked Falling into You 33rd in their list of the 100 greatest Canadian albums ever. In the United States, the album reached No. 1, and was later certified 11× Platinum for over 11 million copies shipped. In Canada, the album was certified diamond for over one million copies shipped. The IFPI certified Falling into You 9× Platinum, an accolade that has been given to only two other albums in history, with one of the two being Dion's own album, Let's Talk About Love. The album also won Grammy Awards for Best Pop Album and the academy's highest honour, Album of the Year. Dion was asked to perform "The Power of the Dream" at the opening ceremony of the 1996 Atlanta Olympic Games. In March 1996, she launched the Falling into You Tour in support of her new album, performing concerts around the world for over a year. She followed Falling into You with Let's Talk About Love (1997), which was publicized as its sequel. The recording process took place in London, New York City, and Los Angeles, and featured a host of special guests, such as Barbra Streisand on "Tell Him"; the Bee Gees on "Immortality"; and tenor Luciano Pavarotti on "I Hate You Then I Love You". Other musicians included Carole King, Sir George Martin, Bryan Adams and Jamaican singer Diana King, who added a reggae tinge to "Treat Her Like a Lady". Let's Talk About Love was another major success, reaching No. 1 all over the world, attaining platinum status in twenty-four sales territories, and becoming the fastest selling album of her career. In the United States, the album topped the chart in its seventh week of release, and was later certified 10× Platinum in the US for over 10 million copies shipped. In Canada, the album sold 230,212 copies in its first week of release, which remains a record. It was eventually certified diamond in Canada for over one million copies shipped. The most successful single from the album was the classically influenced ballad "My Heart Will Go On", which was written and composed by James Horner and Will Jennings, and produced by Horner and Walter Afanasieff. Serving as the love theme for the 1997 blockbuster film Titanic, the song topped the charts across the world and became Dion's signature song. Horner and Jennings won the Academy Award and Golden Globe for Best Original Song, while Dion herself garnered two Grammy Awards for Best Female Pop Vocal Performance and the most coveted, Record of the Year, (the song itself won four awards, but two were presented to the songwriters). "My Heart Will Go On" and "Think Twice" made her the only female artist in the UK to have two singles to sell more than a million copies. In support of her album, she embarked on the Let's Talk About Love Tour between 1998 and 1999. Dion ended the 1990s with three more extremely successful albums: the Christmas album These Are Special Times (1998), the French-language album, S'il suffisait d'aimer, and the compilation album All the Way... A Decade of Song (1999). On These Are Special Times, she co-wrote the song "Don't Save It All for Christmas Day" along with Ric Wake and Peter Zizzo. The album was her most classically influenced yet, with orchestral arrangements found on virtually every track. The album featured the single "I'm Your Angel" (a duet with R. Kelly), which became her fourth US No. 1 single, and a smash hit across the world. The album's second single "The Prayer" (a duet with Andrea Bocelli) served as the soundtrack of the 1998 film Quest for Camelot and won a Golden Globe Award for Best Original Song. All the Way... A Decade of Song drew together her most successful hits coupled with seven new songs, including the lead-off single "That's the Way It Is", a cover of Roberta Flack's "The First Time Ever I Saw Your Face", and "All the Way", a duet with Frank Sinatra. All the Way became one of the best-selling compilation albums of all time, reaching No. 1 in the United States for three weeks. The album was later certified 7x Platinum in the US for 7 million copies shipped. It also topped the charts in the UK, Canada, and Australia. Her last French-language studio album of the 1990s, S'il suffisait d'aimer, was very successful as well, topping the charts in every major French-speaking country, including France, Switzerland, the Wallonia region of Belgium, and Canada. In France, the album was certified diamond, selling 1.5 million copies. By the end of the 1990s, Dion had sold more than 130 million records worldwide, and had won a slew of industry awards. Her status as one of the music industry's biggest pop divas was further solidified when she was asked to perform on VH1's Divas Live special in 1998, with superstars Aretha Franklin, Gloria Estefan, Shania Twain, and Mariah Carey. That year, she also received two of the highest Canadian honours: "Officer of the Order of Canada for Outstanding Contribution to the World of Contemporary Music" and "Officer of the National Order of Quebec". A year later, she was inducted into the Canadian Broadcast Hall of Fame, and was honoured with a star on Canada's Walk of Fame. Starting from the mid-1990s, the pop rock influence that was more noticeable in her earlier releases was replaced by a more mature feel. Additionally, the recurring theme of "love" dominated most of her releases, which led to some critics dismissing her music as banal. Other critics, like Elysa Gardner and Jose F. Promis, praised her voice during this period, describing it as a "technical marvel". Steve Dollar, in his review of These Are Special Times, opined that Dion was a "vocal Olympian for whom there ain't no mountain—or scale—high enough". 2000–2003: Hiatus, A New Day Has Come, One Heart, and 1 fille & 4 types After releasing and promoting thirteen albums during the 1990s, Dion stated that she needed to settle down, and announced on her latest album All the Way... A Decade of Song, that she needed to take a step back from the spotlight and enjoy life. Angélil's diagnosis with esophageal cancer also prompted her to hiatus. While on break, she was unable to escape the spotlight. In 2000, the National Enquirer published a false story about the singer. Brandishing a picture of Dion and her husband, the magazine misquoted her, printing the headline, "Celine — 'I'm Pregnant With Twins!'" She later sued the magazine for more than $20million. The editors of the Enquirer printed an apology and a full retraction to her in the next issue, and donated money to the American Cancer Society in honour of her and her husband. A year after the incident, after undergoing fertility treatments, she gave birth to a son, René-Charles Dion Angélil, on 25 January 2001, in Florida. Following the 11 September attacks, Dion returned to the music scene, and in a televised performance sang "God Bless America" at the benefit concert America: A Tribute to Heroes. Chuck Taylor of Billboard wrote, "the performance ... brings to mind what has made her one of the celebrated vocalists of our time: the ability to render emotion that shakes the soul. Affecting, meaningful, and filled with grace, this is a musical reflection to share with all of us still searching for ways to cope." She performed it again in 2003 during pregame festivities for Super Bowl XXXVII in San Diego. In December 2001, she published her autobiography My Story, My Dream which chronicled her rags-to-riches story. Dion ended her three-year sabbatical from the music industry with the aptly titled album A New Day Has Come, released in March 2002. The album was her most personal yet, with songs focusing on her motherhood and maturation as a woman such as "A New Day Has Come", and "Goodbye's (The Saddest Word)". She stated: "becoming a mother makes you a grown-up." She stated, "A New Day Has Come, for Rene, for me, is the baby. It has everything to do with the baby ... That song "A New Day Has Come" represents very well the mood I'm feeling right now. It represents the whole album." A New Day Has Come debuted at No. 1 in more than 17 countries, including the United Kingdom and Canada. In the United States, the album debuted at No. 1 on the Billboard 200, with first-week sales of 527,000 copies; marking her first No. 1 debut on the chart, as well as the highest debut sales week of her career in the US. It was eventually certified 3× Platinum in the United States, and 6× Platinum in Canada. While the album was commercially successful, critical reviews suggested that it was "forgettable" and the lyrics were "lifeless". Both Rob Sheffield of Rolling Stone magazine, and Ken Tucker of Entertainment Weekly, stated that Dion's music had not developed much during her break, and classed her material as trite and mediocre. Sal Cinquemani of Slant Magazine called the album "a lengthy collection of drippy, gooey pop fluffer-nutter". The first single off the album, A New Day Has Come peaked at No.22 on the Billboard Hot 100 charts, being an airplay-only release. On the Hot Adult Contemporary Tracks, however, the song spent 21 consecutive weeks at No. 1, breaking the record for the longest span at the top. The previous record holders were Phil Collins' You'll Be in My Heart and Dion's own Because You Loved Me, both of which lasted nineteen weeks at No. 1. The album's next single, "I'm Alive", was featured on the soundtrack for Stuart Little 2 (2002), and was ranked number 2 on the European Hot 100 Singles, and number 6 on the Hot Adult Contemporary Tracks in the United States. During 2002, she performed for many benefit concerts, including her second appearance on VH1 Divas Live, a concert to benefit the VH1 Save The Music Foundation, alongside Cher, Anastacia, Dixie Chicks, Mary J. Blige, Whitney Houston, Cyndi Lauper, Shakira, and Stevie Nicks. In conjunction with an endorsement deal with Chrysler, she released One Heart (2003), an album that represented her appreciation for life. The album largely consisted of pop and dance music—a deviation from the soaring, melodramatic ballads, for which she had been known. Although the album achieved moderate success, One Heart was met with mixed criticism, and words such as "predictable" and "banal" appeared even in the most lenient reviews. A cover of the 1989 Cyndi Lauper hit "I Drove All Night", released to launch her advertising campaign with Chrysler, incorporated elements of dance-pop and rock and roll. The advertising deal was met with criticism, with some stating that Dion was trying to cater to her sponsors. After One Heart, she released her next English-language studio album, Miracle (2004). Miracle was a multimedia project conceived by Dion and Australian photographer Anne Geddes and had a theme centring on babies and motherhood. The album was filled with lullabies and other songs of maternal love and inspiration, including covers of Louis Armstrong's "What a Wonderful World" and John Lennon's "Beautiful Boy". The reviews for Miracle were mixed. Stephen Thomas Erlewine of Allmusic.com gave the album three of out five stars, stating, "The worst you can say about the record is that there are no surprises, but the audience for this record doesn't want surprises; they want comfort, whether it arrives in polished music or artsy photos of newborns, and Miracle provides both, which makes it appealing for those expectant or new mothers in Dion's audience." Chuck Taylor of Billboard magazine wrote that the single "Beautiful Boy" was "an unexpected gem" and called Dion "a timeless, enormously versatile artist", Chuck Arnold of People Magazine, however, labelled the album as excessively sentimental, while Nancy Miller of Entertainment Weekly opined that "the whole earth-mama act is just opportunism, reborn". Miracle debuted at No. 4 on the Billboard 200 chart and No. 1 in Canada and was eventually certified platinum by the RIAA. The francophone album 1 fille & 4 types (1 Girl & 4 Guys), released in October 2003, fared better than her previous two releases and showed her trying to distance herself from the "diva" image. She recruited Jean-Jacques Goldman, Gildas Arzel, Eric Benzi, and Jacques Veneruso, with whom she had previously worked on two of her best-selling French albums S'il suffisait d'aimer and D'eux. Labeled "the album of pleasure" by Dion herself, the album cover showed her in a simple and relaxed manner, contrary to the choreographed poses usually found on her album covers. The album achieved widespread commercial success in France, Canada, and Belgium where it reached No. 1. In France, the album debuted at No. 1 and was later certified 2× platinum after selling over 700,000 copies. Critic Stephen Erlewine of AllMusic wrote that Dion's vocals were "back at top of their game" and that she was "getting back to pop basics and performing at a level unheard in a while". Though her albums were commercially successful, they did not achieve the sales or the reception of her previous works. Her songs received less airplay as radio became less embracing of balladeers like Dion, Carey, and Houston, and was focused on more up-tempo, Urban/Hip-hop songs. By 2004, Dion had accumulated sales of more than 175 million albums worldwide and received the Chopard Diamond Award from the World Music Awards for her achievements. According to the official World Music Awards website, the award is rare; it is "not presented every year" and an artist can be presented with the award only for selling "over 100 million albums during their career". 2003–2007: A New Day... In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza, A New Day..., at The Colosseum at Caesars Palace, Las Vegas. This move was generally seen as risky, but journalist Miriam Nunzio wrote that it was "one of the smartest business decisions in years by any major recording artist". Dion conceived the show after seeing O by Franco Dragone during her break from recording, and it premiered on 25 March 2003, in a 4,000-seat arena specifically designed for her show and modelled after the Roman Colosseum. Many stars attended the opening night including Dick Clark, Alan Thicke, Kathy Griffin, Lance Bass, and Justin Timberlake, who hosted the television special. The show, directed by Dragone and choreographed by the renowned Mia Michaels, was a combination of dance, music, and visual effects. It included Dion performing her biggest hits against an array of dancers and special effects. Reviewer Mike Weatherford felt that, at first, Dion was not as relaxed as she should be, and at times, it was hard to find the singer among the excessive stage ornamentation and dancers. However, he noted that the show had become more enjoyable over the course of its run, because of her improved stage-presence and simplified costumes. The show was well-received by audiences, despite the complaints of expensive tickets; it routinely sold out until its end in late 2007. Ticket prices averaged $135.33. According to Pollstar, Dion sold 322,000 tickets and grossed US$43.9 million in the first half of 2005, and by July 2005, she had sold out 315 out of 384 shows. By the end of 2005, she grossed more than US$76 million, placing sixth on Billboard's Money Makers list for 2005. Because of the show's success, her contract was extended into 2007 for an undisclosed sum. On 5 January 2007, it was announced that the show would end on 15 December 2007, with tickets for the period after October 2007 having gone on sale from 1 March. According to Billboard, A New Day... is the most successful residency of all time, grossing over US$385 million ($ million in dollars) and drawing nearly three million people to 717 shows. The Live in Las Vegas: A New Day... DVD was released on 10 December 2007, in Europe and the following day in North America. 2007–2010: D'elles, Taking Chances, and Taking Chances Tour On 21 May 2007, Dion released the French-language album D'elles (About Them), which debuted at the top of the Canadian album charts, selling 72,200 copies in its first week. It marked her tenth No. 1 album in the SoundScan era, and her eighth to debut at the top position. In Canada, the album has been certified 2× platinum, and within the first month had already shipped half a million units worldwide. D'Elles also reached No. 1 in France and Belgium. The first single "Et s'il n'en restait qu'une (je serais celle-là)" (meaning "And If There Was Only One Woman Left (I Would Be That One)") debuted at the top of the French singles chart a month earlier. Later that same year, she released the English album Taking Chances on 12 November in Europe, and 13 November in North America. Her first English studio album since 2003's One Heart, it featured pop, R&B, and rock inspired music. For this album, she collaborated with John Shanks and ex-Evanescence guitarist Ben Moody, as well as Kristian Lundin, Peer Åström, Linda Perry, Japanese singer Yuna Ito, and R&B singer-songwriter Ne-Yo. Dion stated, "I think this album represents a positive evolution in my career ... I'm feeling strong, maybe a little gutsier than in the past, and just as passionate about music and life as I ever was." She launched her year-long worldwide Taking Chances Tour on 14 February 2008, in South Africa, performing 132 dates in stadiums and arenas across five continents. The Taking Chances Tour was a great success in the United States, reaching the No. 1 spot on the Billboard Boxscore, having sold out every concert in the US and Canada. In addition, she appeared on Idol Gives Back for a second year in a row. Dion was nominated for six Juno Awards in 2008, adding to her 53 previous nominations (an all-time record). Her nominations included Artist of the Year, Pop Album of the Year (for Taking Chances), Francophone Album of the Year (for D'elles) and Album of the Year (for both Taking Chances and D'elles). The following year, she was nominated for 3 Juno Awards including the Fan Choice Award, Song of the Year (for Taking Chances), and Music DVD of the Year (for Live in Las Vegas — A New Day...) On 22 August 2008, Dion presented a free outdoor concert, mostly in French, on the Plains of Abraham, in Québec City, Canada, for the 400th anniversary of Québec City. The celebration gathered approximately 490,000 people. The concert, called Céline sur les Plaines, was released on DVD on 11 November 2008, in Québec and was released on 20 May 2009, in France. Late October 2008 saw the worldwide release of a comprehensive English-language greatest hits album, My Love: Essential Collection. In May 2009, Dion was named the 20th best-selling artist of the decade and the second-best-selling female artist of the decade in the United States, selling an estimated 17.57 million copies of her albums there since 2000. In June 2009, Forbes reported that she earned $100 million during 2008. In December 2009, Pollstar announced that she was the best-selling solo touring act of the decade and the second-best-selling touring act of the decade, behind only the Dave Matthews Band. she grossed $522.2 million during the decade, a large portion of that sum coming from her five-year residency at Caesars Palace. On 17 February 2010, Dion released into theatres a documentary film about her Taking Chances Tour, titled, Celine: Through the Eyes of the World. The documentary shows behind-the-scenes footage of her both onstage and offstage, along with footage of her with her family as they travelled the world with her. The distributor is the Sony Pictures subsidiary, Hot Ticket. The film was later released on Blu-ray and DVD on 4 May 2010, along with the CD/DVD, Taking Chances World Tour: The Concert. At the 52nd Grammy Awards in February 2010, Dion joined Carrie Underwood, Usher, Jennifer Hudson, and Smokey Robinson to perform the song "Earth Song" during the 3-D Michael Jackson tribute. In January 2010, The Los Angeles Times presented its annual list of the top ten largest earners of the year, revealing that Dion took the top spot for the entire decade, with $US747.9 million in total revenue from 2000–2009. The largest haul came from ticket sales, totalling $522.2 million. Additionally, she was named "Artist of the Decade" in her native Canadian province of Québec, announced by the Montréal-based newspaper, Le Journal de Québec in 2009 December. A public online survey asked responders to vote for whom they believe deserved the above-mentioned accolade. Furthermore, in a May 2010 Harris Poll, Dion was named the most popular musician in the United States, ahead of U2, Elvis Presley, and The Beatles while factoring in gender, political affiliations, geographic region of residence, and income. Specifically, she was the most popular musician in the female demographic, as well as among all Democrats, those who live in the eastern United States and southern United States, and those who have incomes between US$35k and US$74.9k. In September 2010, she released the single "Voler", a duet with French singer Michel Sardou. The song was later included on Sardou's album. In addition, it was announced in October 2010 that Dion wrote and composed a new song for Canadian singer, Marc Dupré entitled "Entre deux mondes". 2011–2014: Celine, Sans attendre, and Loved Me Back to Life In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. In 2018, Billboard stated her residency Celine is the second most successful residency of all time. By the end of 2011, Dion has sold 331,000 albums (despite not releasing any studio album since 2007) and 956,000 digital tracks in the United States. For a record sixth time, she performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, she appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, she released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, she made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. She began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. In June 2013, Dion co-produced the show titled "Voices" by Véronic DiCaire at the Bally’s Hotel & Casino’s Jubilee Theatre and was presented 145 times up until 2015. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Céline une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. 2014–present: Husband's death, Encore un soir, Courage, and return to Vegas On 13 August 2014, Dion announced the indefinite postponement of all her show business activities, including her concert residency at Caesars Palace in Las Vegas, and the cancellation of her Asia Tour, because of the worsening of her husband's health after he underwent the removal of a cancerous tumor in December 2013. However, on 20 March 2015, she announced that she would be returning to The Colosseum at Caesars Palace in late August 2015. On 14 January 2016, she cancelled the rest of the January performances due to her husband's and her brother's death from cancer. Dion resumed the residency on 23 February to a sold-out crowd and rave reviews. In October 2015, Dion announced on social media that she had begun working on a new French album, posting a photo by the side of Algerian singer Zaho. Dion's French single, "Encore un soir", was released on 24 May 2016. On 20 May, she released a cover of Queen's song "The Show Must Go On", featuring Lindsey Stirling on violin. She performed "The Show Must Go On" at the 2016 Billboard Music Awards on 22 May, and received the Billboard Icon Award (presented to her by her son, René-Charles Angélil) in recognition of her career spanning over three decades. The singer's new French album, Encore un soir, was released on 26 August 2016. It features fifteen tracks performed in French and, according to the singer, has a personal choice of the songs – more uplifting lyrics were chosen. Encore un soir topped the charts in France, Canada, Belgium and Switzerland, and was certified Diamond in France, 2× Platinum in Canada and Platinum in Belgium and Switzerland. It has sold over 1.5 million copies worldwide. In 2016 and 2017, Dion toured Europe and Canada with two sold-out concert tours. On 9 September 2016, she released "Recovering", a song written for her by Pink after Dion's husband René Angélil died in January 2016. Dion also recorded "How Does a Moment Last Forever" for the Beauty and the Beast: Original Motion Picture Soundtrack, released in March 2017. Her compilation, Un peu de nous topped the chart in France in July and August 2017. On 3 May 2018, she released the single "Ashes" from the film Deadpool 2. The remix version of the song topped the US Dance Club Songs chart in July 2018. From June to August 2018, she toured the Asia-Pacific region and grossed $56.5 million from 22 shows. On 24 September 2018, she announced the end of her Las Vegas residency Celine, with the final date set for 8 June 2019. She is working on a new English album. In January 2019, she performed "A Change Is Gonna Come" at the "Aretha! A Grammy Celebration for the Queen of Soul" Franklin's tribute concert, to be broadcast in March 2019. In March 2019, she was one of 11 singers from Quebec, alongside Ginette Reno, Diane Dufresne, Isabelle Boulay, Luce Dufault, Louise Forestier, Laurence Jalbert, Catherine Major, Ariane Moffatt, Marie Denise Pelletier, and Marie-Élaine Thibert, who participated in a supergroup recording of Renée Claude's 1971 single "Tu trouveras la paix" after Claude's diagnosis with Alzheimer's disease was announced. On 3 April 2019, during a Facebook Live event, Dion announced her 2019/2020 Courage World Tour, beginning in Quebec City on 18 September 2019. She also announced a new English language album of the same name, released in November 2019. On 18 September 2019, Dion released three songs, "Lying Down", "Courage", and "Imperfections" from her upcoming album, Courage. On 26 February 2020, Dion released two songs as exclusive Spotify singles: an acoustic version of Imperfections, and a cover of Chris Isaak's Wicked Game. Isaak joined Dion and sang vocals on the track. On 10 June 2020, Dion announced that her Courage World Tour will kick off again in 2021, after the tour was postponed due to the COVID-19 pandemic. On 21 May 2021, it was announced Dion would return to Vegas, in November of the same year, for a limited-run installment of ten dates in collaboration with Resorts World Las Vegas. Billboard listed Dion as the third top paid musician of 2020 (second by female artist), with total of earnings of $17.5 million. On 15 January 2022, a statement posted to Dion's website and social media accounts announced that the U.S. and Canadian concert dates for March-April 2022 were canceled because of “severe and persistent muscle spasms” that are preventing Dion from performing onstage. Artistry Influences Dion cites idols as varied as Michael Jackson, Aretha Franklin, Charles Aznavour, Carole King, Anne Murray, Barbra Streisand, and the Bee Gees, all of whom she would eventually collaborate with. Her music has been influenced by numerous genres, including pop, rock, gospel, R&B, and soul, and her lyrics focus on themes of poverty, world hunger, and spirituality, with an emphasis on love and romance. After the birth of her first child, her work increasingly focused on maternal love. Musical style Dion has faced considerable criticism from critics, who state that her music often retreats behind pop and soul conventions, and is marked by excessive sentimentality. According to Keith Harris of Rolling Stone magazine, "[Dion's] sentimentality is bombastic and defiant rather than demure and retiring ... [she] stands at the end of the chain of drastic devolution that goes Aretha–Whitney–Mariah. Far from being an aberration, Dion actually stands as a symbol of a certain kind of pop sensibility—bigger is better, too much is never enough, and the riper the emotion the more true." Her francophone releases, by contrast, tend to be deeper and more varied than her English releases, and consequently have achieved more credibility. Critics have stated that Dion's involvement in the production aspect of her music is fundamentally lacking, which results in her work being overproduced and impersonal. However, coming from a family in which all of her siblings were musicians, she dabbled in learning how to play instruments like piano and guitar, and practised with a Fender Stratocaster during the recording sessions for her album Falling into You. Occasionally, Dion has contributed to the writing of a handful of her English and French songs, as well as writing a few songs for other artists such as Marc Dupre. Additionally, as her career progressed, she found herself taking charge in the production of her albums. On her first English album, which she recorded before she had a firm command of the English language, she expressed disapproval, which could have been avoided if she had assumed more creative input. By the time she released her second English album Celine Dion, she had assumed more control of the production and recording process, hoping to dispel earlier criticisms. She stated, "On the second album I said, 'Well, I have the choice to be afraid one more time and not be 100% happy, or not be afraid and be part of this album.' This is my album." Besides her contributions to some of her early French albums, Dion wrote a few of the songs on Let's Talk About Love (1997) and These Are Special Times (1998). She is often the subject of media ridicule and parody and is frequently impersonated on shows such as MADtv, Saturday Night Live, South Park, Royal Canadian Air Farce, and This Hour Has 22 Minutes for her strong accent and onstage gesticulations. However, she has stated that she is unaffected by the comments, and is flattered that people take the time to impersonate her. She even invited Ana Gasteyer, who parodied her on SNL, to appear onstage during one of her performances in New York City. While she is rarely politically outspoken, in 2005 following the Hurricane Katrina disaster, Dion appeared on Larry King Live and tearfully criticized the US government's slow response in aiding the victims of the hurricane: "There's people still there waiting to be rescued. To me that is not acceptable ... How can it be so easy to send planes in another country to kill everybody in a second and destroy lives. We need to serve our country." After her interview, she stated, "When I do interviews with Larry King or the big TV shows like that, they put you on the spot, which is very difficult. I do have an opinion, but I'm a singer. I'm not a politician." Voice and timbre Dion once claimed to be a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, Kent Nagano, maestro of the Munich Symphony Orchestra, remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the recording industry during the 1990s, alongside other female artists, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazine's list of "The 100 Outstanding Pop Vocalists". Dion is often compared to Houston and Carey for her vocal style, and to her idol Barbra Streisand for her voice. She is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn." Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Libération, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, she is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that she uses: the Québécois, the French, and the American. Her self-titled 1992 album was promoted with the slogan "Remember the name because you'll never forget the voice." Legacy Dion is regarded as one of pop music's most influential vocalists. She has been referred to as the "Queen of Power Ballads" by the media.. Billboard called Dion the "Queen of Pop". Her music and vocal styling, alongside that of Whitney Houston and Mariah Carey, have been said to shape how the bulk of modern female pop vocalists sing. These three artists have been widely credited with reviving the power ballad, and in doing so reshaping the adult contemporary radio format, making it one of the most popular formats of the 1990s and early 2000s. In 2002, Billboard named her as the "Best-selling contemporary female artist in history". According to producer, musician, and former American Idol judge Randy Jackson, Dion, Houston, and Carey are the voices of the modern era. Music critic and Dion biographer Carl Wilson notes that her "fame and influence is also renewed and expressed regularly these days by American Idol, the largest mass musical phenomenon of the past decade, where Celine's stood solidly in its pantheon of singers for young people to emulate". Many contestants on the countless televised talent competitions that have risen at the turn of the millennium often emulate Dion, Houston and Carey and cite them as idols. MTV also praised Dion by saying: "Céline Dion was better than almost anyone at capitalizing on pop’s ability to articulate feelings in sensational, over-the-top ways." Numerous artists have either mentioned Dion as a major influence or as one of their favourite singers including: Britney Spears, Rihanna, Adele, Josh Groban, Delta Goodrem, Leona Lewis, Jennifer Hudson, Vanessa Hudgens, Kelly Clarkson, Perrie Edwards, Loren Allred, Brazilian singer Wanessa Camargo, Ariana Grande, Sam Smith, Frank Ocean, Ava Max, Charlotte Cardin, and V (from BTS) among many others. Country singer Martina McBride is widely heralded by the press as the Celine Dion of Country music. Many artists have also praised Dion's voice, singing ability or expressed an interest in working with her including Met Opera conductor and musical director Yannick Nézet-Séguin, Beyoncé, Carlos Santana, Elton John, OneRepublic, Coldplay, Sharon Osbourne, Nicole Scherzinger, Ne-Yo, Carole King, Barbra Streisand, Luciano Pavarotti, Bee Gees, Sir George Martin, Justin Bieber, Jean-Jacques Goldman, Drake and Cher. Timbaland stated "Celine has such a beautiful, mesmerizing voice. She is so talented. I think we could create something that is a classic like she is already." Josh Groban remarked "She's a powerhouse. In this day and age, when more and more studio-produced, tiny-tiny voices are being rewarded ... she has this extraordinary instrument." According to Diane Warren, "Celine is the best singer by far of her generation", an opinion shared by Quincy Jones, Tommy Mottola, and David Foster. Moreover, Shania Twain and Jennifer Lopez have praised her dynamic stage presence, with Jennifer Lopez commenting on American Idol: "Celine gets on stage, she owns the stage, she runs all over that stage, she stops that stage." Leona Lewis is also a huge fan of Céline Dion saying "Celine is someone I aspire to be like in every way. "Gosh – I can't wait. I'm in the middle of picking out dresses at the moment. Celine is definitely one of my heroes. She is amazing." American singer and actress Lea Michelle said that she listened to Céline Dion's music while in the process of making her sophomore album 'Places' and cited her as one of her vocal influences. Godmother of Soul Patti LaBelle called Dion as one of the greatest singers ever. Pop singer Kelly Clarkson also praised Dion's vocal ability saying: "she has two sets of lungs when she sings." and also called her the most gifted vocalist on the planet. Dion holds the Guiness World Record for the most Juno Awards won for Album Of The Year (tied with Michael Buble & Arcade Fire). She won 3 out of the 13 nominations she received in the category throughout her career. Dion is the 3rd most decorated artist in Juno Awards history, winning 20 out of the 75 total nominations ever, becoming the most nominated artist in the awards history as well. In 1997-1998, Dion sold more than 60 million albums, and was estimated to sell a record once every 1.2 seconds. In 2017, Dion broke records across the UK as the highest grossing artist at each UK venue where she performed which included dates at the O2 Arena in London, Leeds First Direct Arena, Birmingham’s Barclaycard Arena and the SSE Hydro in Glasgow. John Meglen, president and co-CEO, Concerts West commended her by saying: "She really is the voice of our lifetime." In 2018, there were over 300,000 Taiwanese fans that clambered for the 20,000 tickets available for Célines first concert ever in Taiwan which caused the system to lag for 30 minutes. The demand caused them to add two additional shows eventually. Cultural impact In Francophone music industry On a cultural level, Dion is credited for introducing francophone music to many non-francophone countries around the globe. Her albums D'eux and S'il suffisait d'aimer remain the best selling francophone albums in history, gaining unprecedented success in non-Francophone markets such as the United Kingdom, Poland, Netherlands, Portugal, Greece, Austria, Japan, and New Zealand. According to RFI Musique, she "has done her bit for French music over the years, assuring the success of French songs which would probably never have got beyond Francophone borders without her ... Without Celine, French record sales would be dramatically lower!" In May 2008, she was awarded France's highest award, as Knight of the Legion of Honour by President of France Nicolas Sarkozy. Sarkozy praised Dion and stated: "France thanks you because your talent and success have contributed to the influence of the French language outside our borders". In Las Vegas strip She is also credited for both revitalizing and revolutionizing the entertainment scene in Las Vegas with the gargantuan successes of her residencies there. She signed a multi-million dollar deal worthed $100 million to do a residency in Vegas and is considered one of the most lucrative and risky in the touring industry. Billboard credits Dion as the one who pioneered modern residencies saying: "Since Dion's debut, hundreds of artists have tried their hand at Vegas residencies, including, most recently, Lady Gaga, Bruno Mars, Usher, Luke Bryan, Katy Perry, Rod Stewart and Sting. Once considered the domain of artists long past their peak, today's Las Vegas residency shows are big business, generating millions in sales." Moreover, Billboard also said: "She changed history and she completely changed Las Vegas," said Nelson, who notes the new residencies being announced for artists like Cardi B, Christina Aguilera and Jennifer Lopez aren't really at the same production level or scale of what Dion created with her husband René Angélil, as well as Meglen, Nelson and former AEG CEO Tim Leiweke." Dion is popularly referred as the reigning "Queen of Las Vegas" by various media outlets for her impact and legacy in the city. According to Gary Bongiovanni, president and editor-in-chief of Pollstar, "Celine redefined what artists can do in Las Vegas, helping to make it arguably the busiest entertainment city in the world." Kurt Melien, vice-president of entertainment at Caesar's Palace stated "Celine was a pioneer without question ... Twenty years ago, we couldn't have got someone the stature of Britney Spears to appear in Vegas. Stars likes her would never have considered it if Celine hadn't paved the way. She changed the face of modern Vegas." The Guardian listed Dion's Vegas residency as one of the 50 gigs that changed music, crediting her as the one who revived it, further saying: "it was Céline Dion who turned Caesars into the stage for a glorious pop comeback. Her initial five-year run was followed by a further eight years – and prompted copycat turns by Britney Spears, Pink and Katy Perry. In the economy Regarding her financial impact on Las Vegas, Stephen Brown, director of the Centre for Business and Economic Research in Las Vegas, commented: "People will come to the city just for her and they will spend money and as a consequence, she has an outsized impact on the economy", then adding "Bigger than Elvis, Sinatra and Liberace put together? Definitely." Estimations indicate that Dion's show will create up to 7,000 indirect jobs and around $114 million worth of new economic activity in each of the three years for which she has been contracted. In businesses Forbes also discussed how entrepreneurs can reclaim the power in their business by being like Céline Dion as an example saying: "Well, remember back in 2017 when Dion launched her handbag line? During a press conference, she admitted her late manager (and husband) had always handled everything for her. Every aspect of her shows was pre-decided; every move, appearance and interview was programmed in advance. She just showed up and executed (which she did brilliantly). At the end of her handbag launch press release, she said "Now . . . I'm the boss.” Starting right then and there, she’d be the one calling the shots for her shows, her kids, her handbags and everything else that mattered to her. She was going to do things her way." In Fashion Celine Dion has received various acclaims from fashion critics for reinventing her fashion style over the years. The Guardian called her "The Joyous New Queen of Fashion". Harper's Bazaar also praised Dion for being an ultimate fashion risk-taker and called her a "Fashion Chameleon". Billboard dubbed her as "Streetwear Icon" after recapping the global icon's style evolution through the years. Vogue named her as one of music's most exuberant dressers, beloved as much for her glorious voice as her extravagant sense of style. Tatler discussed in an article how Cardi B might be the next Céline Dion of Paris Fashion Week, proving that Céline is the standard for the occasion. Fashion stylist and image architect Law Roach praised Celine Dion, calling her "The Queen of Camp" & "The Queen of Glitter & Sequins". Dion further cemented her name in the fashion world by wearing the reverse tuxedo at 1999 Academy Awards, which became one of the most talked ensembles of that time. Vogue also listed her iconic 1999 reverse tuxedo as one of the most controversial looks of all time saying it was undeniably the highlight of the year. W also listed the iconic ensemble as one of the most memorable dresses of all time. In February 2020, Sergio Guadarrama, a contestant of Project Runway, copied the idea of reverse tuxedo and claimed it was his original idea and had even claimed that he had no idea about the iconic tuxedo, which left the fans of the show disappointed. Breaking music barriers Vice discussed how Dion's music made impact in Nigerian culture, saying: "By the 2000s, Celine Dion was basically the queen of Nigerian airwaves. It was impossible to watch TV or listen to the radio without hearing her music – either on adverts, or in Nollywood films featuring heartthrobs like Genevieve Nnaji and Ramsey Nouah." Billboard also discussed how Dion’s appearance at Jamaica Jazz & Blues changed the festival’s future. According to Walter Elmore, CEO of Art of Music Productions said Dion is by far the most expensive artist he has ever booked, further saying: “I have already received calls from the management of several major US artists who want to perform here next year because they heard Celine’s comments about our show’s production quality,” Elmore said. “Her performance confirms that we can bring the biggest artists on the planet to our little island.” In 2012, Dion visited Jamaica for the very first time which broke attendance records and caused traffic congestion around the concert venue. Vice discussed how Dion's music has been constant in dancehall clubs for decades, as many Jamaican dancehall artists cover her songs and remixing her ballads into anthems of dance hall. Further adding: "Several current dancehall musicians continue to use utilize Dion’s tunes with the addition of upbeat guitars, pan flutes, and backbeat shuffles that transform the music for consumption by dancehall fans." Being referenced in songs The Canadian comedy music group The Arrogant Worms released an album called Dirt in 1999 which contained a song called "Celine Dion", about the singers' stalker-like affection for her. Dion has also been referred/mentioned in various hit songs including "Dark Fantasy" by Kanye West, "911/Mr. Lonely" by Tyler, the Creator, "That Girl" by Pharrell Williams, "Work" by A$AP Ferg, and "What's The Use" by Mac Miller, to name a few. Cultural honors In 1999, Dion received a star on Canada's Walk of Fame and was inducted into the Canadian Broadcast Hall of Fame. She received a star on the Hollywood Walk of Fame in January 2004, one which she dedicated to her father, who had died the month prior. In May 2003, she placed at No. 10 on VH1's list of "50 Greatest Women of the Video Era". Dion's album Falling into You is included on the Rock and Roll Hall of Fame's Definitive 200 list. "My Heart Will Go On" was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts. In 2021, Dion was ranked by Forbes as the third richest woman in entertainment with an estimated net worth of US$460 million. In August 2008, she received an honorary doctorate in music from the Université Laval in Quebec City. In October 2010, Dion was named a Goodwill Ambassador, a program created by the UN in 1999, sharing this accolade with Oscar-winner Susan Sarandon. She also received several state decorations. In 2004, she was awarded the Society of Singers Lifetime Achievement Award. On 26 July 2013, she was awarded the highest rank of the Order of Canada, the Companion of the Order of Canada, by the Governor General of Canada and the investiture ceremony was held at Citadelle of Quebec, in which they said: "An incomparable artist, she is equally known for her compassion, generosity and commitment to a number of social and humanitarian causes. She is notably the national celebrity patron for Cystic Fibrosis Canada and honorary patron of the CHU Sainte-Justine. In addition, through her foundation, she also helps children in need and their families here in Canada and abroad." By the end of 1998, Dion was recognized by Billboard as the "Woman of the Year". They also stated how Céline's voice was featured in eight charting albums on Billboard 200 year-end chart which sold 18 million units during a calendar year (excluding her own catalog sales and recent releases at that time). West University of Timișoara conducted a research study that analyzes Céline Dion's contributions to global music culture in both spatial and temporal terms, In November 2013, Dion was inducted at the American Gaming Association Hall Of Fame for her outstanding contributions to the growth and stature of the gaming industry. In popular culture Dion was referenced as an antagonist character named "Feline Dion" from the hit animated series Totally Spies! which was aired in an episode in 2013. In 2021, French actress and filmmaker Valérie Lemercier released Aline, a film which fictionalized Dion's life with Lemercier playing a singer named "Aline Dieu". Other activities Business endeavours Les Productions Feeling Inc., also known as Feeling Inc. or just Feeling, is an artist management company based in Laval, Québec, Canada, and owned by Dion and her husband and manager, Rene Angélil. She is also founder of Nickels Restaurant food chain. She and her husband also own Le Mirage Golf Club and Schwartz's Restaurant. In association with Andre Agassi, Steffi Graf and Shaquille O'Neal, she opened a popular night club called Pure, located at Caesars Palace. Dion became an entrepreneur with the establishment of her franchise restaurant Nickels in 1990. She has since divested her interests in the chain and is no longer affiliated with Nickels, as of 1997. In 2003, Dion signed a deal with Coty, Inc. to release Celine Dion Parfums. Her latest fragrance, Signature, was released in September 2011 with an advertising campaign by New York agency Kraftworks NYC. Since its inception, Celine Dion Parfums has grossed over $850 million in retail sales. In October 2004, Air Canada hired Dion as part of their promotional campaign to unveil new service products and an updated livery. "You and I", the theme song sung by Dion, was written by advertising executives working for Air Canada. Dion also launched an eponymous bag and accessories line "Céline Dion Collection". According to Innee-Sedona International, the Asia partner for Bugatti Group said that it already topped $10 million sales after just three collections. Philanthropy Dion has actively supported many charity organizations, worldwide. She has promoted the Canadian Cystic Fibrosis Foundation (CCFF) since 1982, and became the foundation's National Celebrity Patron in 1993. She has an emotional attachment to the foundation; her niece Karine succumbed to the disease at the age of sixteen, in Dion's arms. In 2003, she joined a number of other celebrities, athletes, and politicians, including Josh Groban and Yolanda Adams to support "World Children's Day", a global fundraising effort sponsored by McDonald's. The effort raised money from more than 100 nations and benefited orphanages and children's health organizations. In addition, she has been a major supporter of the T. J. Martell Foundation, the Diana Princess of Wales Memorial Fund, and many health and educational campaigns. During the aftermath of Hurricane Katrina, she donated $1 million to the victims of the storm, and held a fund-raising event for the victims of the 2004 Asian tsunami, which subsequently raised more than $1 million. After the 2008 Sichuan earthquake, she donated $100,000 to China Children & Teenagers' Fund and sent a letter showing her consolation and support. Since 2004, she is involved, alongside husband René Angelil, with the Québec gay community by supporting the publication of health and HIV prevention materials in Gay Globe Magazine, owned by journalist Roger-Luc Chayer. She is also a member of Canadian charity Artists Against Racism. In November 2018, she launched a gender-neutral clothing line for kids, Celinununu. In 2009, Dion joined an effort along with Leonardo DiCaprio, James Cameron and Kate Winslet, to donate money to support the nursing home fees of the then-last living survivor of the sinking of the Titanic, Millvina Dean. The campaign resulted in $30,000 as donation. Personal life As the youngest of 14 children, Dion grew up wearing hand-me-downs and sharing a bed with several sisters. As a baby, she slept in a drawer to save on a crib. She was bullied at school and called "Vampire", owing to her teeth and skinny frame. Local tabloids even dubbed her "Canine Dion" in the teenage years of her career. She often spoke of running home from school to play music in the basement with her brothers and sisters. "I detested school", she would later write in her autobiography. "I had always lived surrounded by adults and children a lot older than me. I learned everything I needed to know from them. As far as I was concerned, real life existed around them." Dion's eldest sister was already in her twenties, married, and pregnant with her first child at the time Dion's mother, Thérèse, was pregnant with Celine. Dion first met René Angélil, her future husband and manager, in 1980, when she was 12 and he was 38, after her brother, Michel Dondalinger Dion, had sent him a demonstration recording of "Ce n'était qu'un rêve" ("It Was Only a Dream/Nothing But A Dream"), a song she, her mother Thérèse, and her brother Jacques Dion had jointly written. Over subsequent years, Angélil guided her to stardom in francophone territories. After the dissolution of Angélil's second marriage, he and Dion took a professional break and he spent the major part of the year in Las Vegas, while Dion was learning English and taking dance and vocal lessons in Montreal. Upon his return, "he avoided being alone with me for too long a time", she said in her 2000 autobiography My Story, My Dream. Meanwhile, she kept a photo of Angélil under her pillow, writing, "Before I fell asleep, I slipped it under the pillow, out of fear that my mother, who always shared a room with me, would find it." She also wrote "Less and less could I hide from myself the fact that I was in love with Rene; I had all the symptoms," and "I was in love with a man I couldn't love, who didn't want me to love him, who didn't want to love me." Dion's mother, who traveled everywhere with the singer until she was 19, was initially wary of her daughter's growing infatuation with a much older and twice-divorced Angélil, but Dion was insistent, telling her mother "I'm not a minor. This is a free country. No one has the right to prevent me from loving whoever I want to." Their professional relationship eventually turned romantic after Dion's win at the Eurovision Song Contest in Dublin in 1988; she was 20. The romance was known to only family and friends for five years, though Dion nearly revealed all in a tearful 1992 interview with journalist Lise Payette. Many years later, Payette penned the song "Je cherche l'ombre" for Dion's 2007 album D'elles. Dion and Angélil became engaged in 1993, on Dion's 25th birthday, and made their relationship public in the liner notes of her 1993 album The Colour of My Love. They married on 17 December 1994, at Notre-Dame Basilica in Montreal, Quebec. On 5 January 2000, Dion and Angélil renewed their wedding vows in Las Vegas. In May 2000, Dion had two small operations at a fertility clinic in New York to improve her chances of conceiving, after deciding to use in vitro fertilization because of years of failed attempts to conceive. Their first son, René-Charles Angélil, was born on 25 January 2001. Dion suffered a miscarriage in 2009. In May 2010, Angélil announced that she was 14 weeks pregnant with twins after a sixth treatment of in vitro fertilization. On Saturday, 23 October 2010, at 11:11 and 11:12 am respectively, Dion gave birth to fraternal twins by Caesarean section at St. Mary's Medical Center in West Palm Beach, Florida, The twins were named Eddy, after Dion's favourite French songwriter, Eddy Marnay, who had also produced her first five albums; and Nelson, after former South African President Nelson Mandela. She appeared with her newborn sons on the cover of 9 December 2010 issue of the Canadian edition of Hello! magazine. On 14 January 2016, Angélil died of throat cancer. His funeral was held on 22 January 2016, in Notre-Dame Basilica in Montreal, where he and Dion wed 21 years earlier. The couple's eldest son, René-Charles, gave the eulogy just three days before his 15th birthday. Following Angélil's death, Dion became the sole owner and president of her management and production companies, including CDA Productions and Les Productions Feeling. Two days after Angélil's deathon what would have been her husband's birthdayDion's brother, Daniel, died aged 59, also of cancer. On 22 March 2018, Dion's management team announced that she had been dealing with hearing irregularities for the previous 12–18 months due to patulous Eustachian tube and would undergo a minimally invasive surgical procedure to correct the problem after ear-drop medications appeared to be no longer working. Owing to her slight frame, Dion has for decades been subject of eating disorder rumors, which she has consistently denied: "I don't have an eating problem, and there's nothing more I can say about it". "My work requires me to be in great physical shape. I wouldn't have been able to live up to a hundred shows a year and travel ceaselessly from one end of the world to the other if I had eaten too much or not enough, or if, as certain magazines have claimed, I made myself throw up after each meal." She has often spoken about having been bullied at school and lacking confidence in her early years in the business: "I didn't have, visually, what it took. I was not pretty, I had teeth problems, and I was very skinny. I didn't fit the mold". Dion took up ballet under the guidance of her former dancer, Naomi Stikeman, who also previously performed for The National Ballet of Canada and La La La Human Steps, and former Cirque du Soleil dancer-turned-fashion-illustrator, Pepe Muñoz, who is also part of her styling team. She is also a skier and a regular at her son René-Charles' hockey games. Dion resides in Henderson, Nevada, in a house she bought with her husband in 2003. She previously owned homes in Montreal, Quebec, and Jupiter Island, Florida. Dion's older son René-Charles Angélil loves music and has tried to follow a musical path. Under the stage name Big Tip, he released in May 2018 on his SoundCloud account 6 rap songs including originals "The Kid", "The Apple" and "Never Stop" and two adaptations from The Weeknd songs, "Catwalks" sampling on The Weeknd's "Sidewalks" and a remix of The Weeknd's "Loft Music" as "Loft Music Remix". He also released the 5-track EP CasiNo. 5 in December 2020 using the artistic name RC Angelil. The EP includes the tracks "Mamba Mentality", "Money, Thrills and Rest", "No Ls", "GG4" (featuring PAKKA) and "LV". Discography French-language studio albums La voix du bon Dieu (1981) Céline Dion chante Noël (1981) Tellement j'ai d'amour... (1982) Les chemins de ma maison (1983) Chants et contes de Noël (1983) Mélanie (1984) C'est pour toi (1985) Incognito (1987) Dion chante Plamondon (1991) D'eux (1995) S'il suffisait d'aimer (1998) 1 fille & 4 types (2003) D'elles (2007) Sans attendre (2012) Encore un soir (2016) English-language studio albums Unison (1990) Celine Dion (1992) The Colour of My Love (1993) Falling into You (1996) Let's Talk About Love (1997) These Are Special Times (1998) A New Day Has Come (2002) One Heart (2003) Miracle (2004) Taking Chances (2007) Loved Me Back to Life (2013) Courage (2019) Concert tours and residencies Tours Les chemins de ma maison (1983–1984) Céline Dion en concert (1985) Tournée Incognito (1988) Unison Tour (1990–1991) Celine Dion in Concert (1992–1993) The Colour of My Love Tour (1994–1995) D'eux Tour (1995–1996) Falling into You: Around the World (1996–1997) Let's Talk About Love World Tour (1998–1999) Taking Chances World Tour (2008–2009) Tournée Européenne 2013 Summer Tour 2016 Celine Dion Live 2017 Celine Dion Live 2018 Courage World Tour (2019–2023) Residencies A New Day... (2003–2007) Celine (2011–2019) Celine (2022) Filmography Touched by an Angel The Nanny All My Children La fureur de Céline Des fleurs sur la neige Quest for Camelot as Juliana (singing voice) Céline sur les Plaines Celine: Through the Eyes of the World Sur la piste du Marsupilami Hell's Kitchen Muppets Most Wanted References Bibliography Céline Dion. Artist direct. Retrieved on 18 December 2005. "Celine Dion". Contemporary Musicians, Volume 25. Gale Group, 1999. "Celine Dion". Newsmakers 1995, Issue 4. Gale Research, 1995. Céline Dion. Rock on the Net. Retrieved 20 November 2005. Céline Dion. The Canadian Encyclopedia. Retrieved 2 July 2006 Céline Dion provided by VH1.com Retrieved 16 August 2005. Dion extends long Las Vegas stint. news.bbc.co.uk. Retrieved 5 November 2005. Durchholz, Daniel. Review: One Heart. St. Louis Post-Dispatch. St. Louis, Mo.: 24 April 2003. p. F.3 The 100 Outstanding Pop Vocalist covemagazine.com Retrieved 1 November 2005. Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties () World Music Awards Diamond Award Retrieved 1 November 2005, (Search by year required) Further reading External links CelineDion.com – Official website operated by Sony Music Canada (English, French). [ Celine Dion] at AllMusic [ Celine Dion] at Billboard.com 1968 births Living people 20th-century Canadian composers 20th-century Canadian women singers 20th-century women composers 21st-century Canadian composers 21st-century Canadian women singers 21st-century women composers 550 Music artists Ballad musicians Businesspeople from Florida Businesspeople from Quebec Canadian businesspeople in retailing Canadian child singers Canadian contemporary R&B singers Canadian dance musicians Canadian expatriate musicians in the United States Canadian women pop singers Canadian women rock singers Canadian women singers Canadian pop pianists Canadian restaurateurs Canadian Roman Catholics Canadian soft rock musicians Canadian sopranos Canadian soul singers Canadian voice actresses Canadian women in business Canadian women philanthropists Canadian women pianists Chevaliers of the Légion d'honneur Chevaliers of the Ordre des Arts et des Lettres Columbia Records artists Companions of the Order of Canada Epic Records artists Eurovision Song Contest entrants for Switzerland Eurovision Song Contest entrants of 1988 Eurovision Song Contest winners FAO Goodwill ambassadors Félix Award winners French-language singers of Canada French Quebecers Grammy Award winners Ivor Novello Award winners Juno Award for Album of the Year winners Juno Award for Artist of the Year winners Juno Award for Dance Recording of the Year winners Juno Award for Francophone Album of the Year winners Juno Award for International Album of the Year winners Juno Award for Single of the Year winners Juno International Achievement Award winners Las Vegas shows Musicians from Las Vegas Officers of the National Order of Quebec People from Charlemagne, Quebec People from Henderson, Nevada People from Jupiter Island, Florida Philanthropists from Florida Philanthropists from Nevada Philanthropists from Quebec Pop rock singers Singers from Quebec Singers with a three-octave vocal range Spanish-language singers of Canada Women restaurateurs World Music Awards winners

C_ae9bb47cde234280b28bfbbd3976fb78_0

When did Celine move to the United States?

When did Celine Dion move to the United States?

Celine Dion

In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. Additionally, for a record sixth time, Dion performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, Dion appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, Dion released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, Dion made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. Dion began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. The music video for "Incredible" was uploaded onto Dion's official Vevo channel in early June 2014. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Celine une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. CANNOTANSWER

beginning 15 March 2011.

Céline Marie Claudette Dion (; born 30 March 1968) is a Canadian singer. She is noted for her powerful and technically skilled vocals. Dion is the best-selling Canadian recording artist, and the best-selling French language artist of all time. Her music has incorporated genres such as pop, rock, R&B, gospel, and classical music. Born into a large family from Charlemagne, Quebec, she emerged as a teen star in her home country with a series of French-language albums during the 1980s. She first gained international recognition by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest, where she represented Switzerland. After learning to speak English, she signed on to Epic Records in the United States. In 1990, Dion released her debut English-language album, Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. Her recordings since have been mainly in English and French although she has also sung in Spanish, Italian, German, Latin, Japanese, and Chinese. During the 1990s, she achieved worldwide fame after releasing several best-selling English-language albums in music history, such as Falling into You (1996) and Let's Talk About Love (1997), which were both certified diamond in the US and over 30 million sales worldwide each. She also scored a series of international number-one hits, including "The Power of Love", "Think Twice", "Because You Loved Me", "It's All Coming Back to Me Now", "My Heart Will Go On", and "I'm Your Angel". Dion continued releasing French albums between each English record; D'eux (1995) became the best-selling French-language album of all time, while S'il suffisait d'aimer (1998), Sans attendre (2012), and Encore un soir (2016), were all certified diamond in France. During the 2000s, she built her reputation as a highly successful live performer with A New Day... on the Las Vegas Strip (2003–07), which remains the highest-grossing concert residency of all time, as well as the Taking Chances World Tour (2008–09), one of the highest-grossing concert tours of all time. Dion is also one of the best-selling music artists of all time, with record sales of more than 200 million worldwide. Although her releases have often received mixed critical reception, Dion is regarded as one of pop music's most successful vocalists. She has won five Grammy Awards, including Album of the Year and Record of the Year. Billboard named her the "Queen of Adult Contemporary" for having the most number-one songs on the radio format for a female artist. Dion is the second best-selling female artist in the US during the Nielsen SoundScan, the 8th all-time best-performing top female artist in the United States, and the sixth all-time best-performing female soloist in Billboard 200 history. In 2003, she was honoured by the International Federation of the Phonographic Industry (IFPI) for selling over 50 million albums in Europe. In 2008, Dion was recognized as the Best-selling International Artist in South Africa. Life and career 1968–1989: Early life and career beginnings Dion was born in Charlemagne, Quebec, northeast of Montreal, the youngest of 14 children of Thérèse (née Tanguay, 1927–2020), a homemaker, and Adhémar Dion (1923–2003), a butcher, both of French-Canadian descent. She was raised a Roman Catholic in a poor but, by her own account, happy home in Charlemagne. Music had always been a major part of the Dion family, and she was named after the song "Céline", which French singer Hugues Aufray had recorded two years before her birth. On 13 August 1973, at the age of five, the young Céline made her first public appearance at her brother Michel's wedding, where she performed Christine Charbonneau's song "Du fil, des aiguilles et du coton". She continued to perform with her siblings in her parents' small piano bar called Le Vieux Baril, "The Old Barrel". From an early age, she had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, "I missed my family and my home, but I don't regret having lost my adolescence. I had one dream: I wanted to be a singer." As a child in Quebec, Dion participated in Girl Guide programs as a member of Girl Guides of Canada. At age 12, she collaborated with her mother and her brother Jacques to write and compose her first song, "Ce n'était qu'un rêve", whose title translates as "It Was Only a Dream" or "Nothing But A Dream". Her brother Michel sent the recording to music manager René Angélil, whose name he discovered on the back of a Ginette Reno album. Angélil was moved to tears by Dion's voice and decided to make her a star. In 1981, he mortgaged his home to fund her first record, La voix du bon Dieu, which later became a local No. 1 hit and made her an instant star in Quebec. Her popularity spread to other parts of the world when she competed in the 1982 Yamaha World Popular Song Festival in Tokyo, Japan, and won the musician's award for "Top Performer" as well as the gold medal for "Best Song" with "Tellement j'ai d'amour pour toi". By 1983, in addition to becoming the first Canadian artist to receive a gold record in France for the single "D'amour ou d'amitié" ("Of Love or of Friendship"), Dion had also won several Félix Awards, including "Best Female performer" and "Discovery of the Year". Further success came when she represented Switzerland in the 1988 Eurovision Song Contest with the song "Ne partez pas sans moi" and won the contest by a close margin in Dublin, Ireland. At age 18, after seeing a Michael Jackson performance, Dion told Angélil that she wanted to be a star like Jackson. Though confident in her talent, Angélil realized that her image needed to be changed for her to be marketed worldwide. She receded from the spotlight for a number of months, during which she underwent dental surgery to improve her appearance, and was sent to the École Berlitz in 1989 to polish her English. In 1989, during a concert on the Incognito tournée, she injured her voice. She consulted the otorhinolaryngologist William Gould, who gave her an ultimatum: have immediate surgery on her vocal cords or do not utilize them at all for three weeks. Dion chose the latter and underwent vocal training with William Riley. 1990–1992: Unison, Dion chante Plamondon, and Celine Dion Two years after she learned English, Dion made her debut into the Anglophone market with Unison (1990), the lead single having originally been recorded by Laura Branigan. She incorporated the help of many established musicians, including Vito Luprano and Canadian producer David Foster. The album was largely influenced by 1980s soft rock music that quickly found a niche within the adult contemporary radio format. Unison also hit the right notes with critics: Jim Faber of Entertainment Weekly wrote that her vocals were "tastefully unadorned", and that she never attempted to "bring off styles that are beyond her". Stephen Thomas Erlewine of AllMusic declared it "a fine, sophisticated American debut". Singles from the album included "(If There Was) Any Other Way", "The Last to Know", "Unison", and "Where Does My Heart Beat Now", a mid-tempo soft-rock ballad that made prominent use of the electric guitar. The latter became her first top-ten hit on the US Billboard Hot 100, peaking at number four. In 1991, Dion was a featured soloist on "Voices That Care", a tribute to American troops fighting in Operation Desert Storm. Her real international breakthrough came when she duetted with Peabo Bryson on the title track to Disney's animated film Beauty and the Beast (1991). It became her first top-ten hit in the UK and her second top-ten hit in the United States. The song earned its songwriters an Academy Award for Best Song and gave Dion her first Grammy Award for Best Pop Performance by a Duo or Group with Vocal. "Beauty and the Beast" served as the lead single from her 1992 self-titled album, which, like her debut, had a strong pop rock influence combined with elements of soul and classical music. Owing to the success of the lead-off single and her collaborations with David Foster and Diane Warren, the album was even more well-received commercially than Unison; it was certified diamond in Canada and double platinum in the US. The album's second single "If You Asked Me To" (a cover of Patti LaBelle's song from the 1989 movie Licence to Kill) became her first number-one single in Canada and peaked at number four on the US Billboard Hot 100. Also during this time, Dion released the Francophone album Dion chante Plamondon. The album consisted mostly of covers, but featured four new songs: "Des mots qui sonnent", "Je danse dans ma tête", "Quelqu'un que j'aime, quelqu'un qui m'aime", and "L'amour existe encore". It was originally released in Canada and France during the 1991–1992 period, then later received an international release in 1994, the first French Celine Dion album to do so. "Un garçon pas comme les autres (Ziggy)" became a smash hit in France, reaching No. 2 and being certified gold. In Quebec, the album was certified Gold the day it was released. By 1992, Unison, Céline Dion, and numerous high-profile media appearances had propelled Dion to superstardom in North America. She had achieved one of her main objectives: wedging her way into the Anglophone market and achieving fame. However, while she was experiencing rising success in the US, her French fans in Canada criticized her for neglecting them. She would later rebuff these criticisms at the 1991 Félix Awards show, where, after winning "English Artist of the Year", she openly refused to accept the award. She asserted that she was—and would always be—a French, not an English, artist. Apart from her commercial success, there were also changes in her personal life, as Angélil, who was 26 years her senior, transitioned from manager to lover. However, the relationship was kept a secret as they both feared that the public would find their relations inappropriate. 1993–1995: The Colour of My Love and D'eux In 1993, Dion announced her feelings for her manager by declaring him "the colour of [her] love" in the dedication section of her third English-language album The Colour of My Love. However, instead of criticizing their relationship as she had feared, fans embraced the couple. Eventually, Angélil and Dion married in an extravagant wedding ceremony on 17 December 1994, which was broadcast live on Canadian television. As with most of her catalogue, The Colour of My Love had over-riding themes of love and romance. It became her most successful record up to that point, selling more than six million copies in the US, two million in Canada, and peaking at No. 1 in many countries. The album also spawned Dion's first US, Canadian, and Australian No. 1 single "The Power of Love" (a remake of Jennifer Rush's 1985 hit), which would become her signature hit in various nations until she reached new career heights in the late 1990s. The single "When I Fall in Love", a duet with Clive Griffin, achieved moderate success on the US and Canadian charts and was nominated for two Grammy Awards, winning one. The Colour of My Love also became Dion's first major hit in Europe, particularly in the United Kingdom. Both the album and the single "Think Twice" simultaneously occupied the top of the British charts for five consecutive weeks. "Think Twice", which remained at No. 1 for seven weeks, eventually became the fourth single by a female artist to sell in excess of one million copies in the UK while the album was eventually certified five-times platinum for two million copies sold. Dion kept to her French roots and continued to release many Francophone recordings between each English record. Generally, they achieved more credibility than her English-language works. She released À l'Olympia, a live album that was recorded during one of her concerts at the Paris Olympia in 1994. It had one promotional single, a live version of "Calling You", which peaked at seventy-five on the French Singles Chart. She also recorded a bilingual version of "Petit Papa Noël" with Alvin and the Chipmunks for the 1994 holiday album A Very Merry Chipmunk. D'eux (also known as The French Album in the United States), was released in 1995, and it would go on to become the best-selling French-language album of all time. The album was mostly written and produced by Jean-Jacques Goldman, and amassed huge success with the singles "Pour que tu m'aimes encore" and "Je sais pas". "Pour que tu m'aimes encore" reached No. 1 in France and stayed at the top position for twelve weeks. It was later certified Platinum in France. The single reached the top ten in the UK and Ireland, a rare accomplishment for a French song. The second single off the album, "Je sais pas", reached No. 1 on the French Singles Chart as well and was certified Silver there. During the mid-1990s and onward, Dion's albums were generally constructed on the basis of melodramatic soft rock ballads, with sprinklings of up-tempo pop and rare forays into other genres. She collaborated with many renowned writers and producers such as Jim Steinman and David Foster, who helped her to develop a signature sound. While critical reviews fluctuated, her releases performed increasingly well on the international charts, and in 1996, she won the World Music Award for "World's Best-selling Female Recording Artist of the Year" for the third time. By the mid-1990s, she had established herself as one of the best-selling artists in the world. 1996–1999: Falling into You, Let's Talk About Love, and S'il suffisait d'aimer In the five years since her debut English language album in 1990, Billboard stated that she had already sold 40 million albums worldwide. Falling into You (1996), Dion's fourth English-language album, presented the singer at the height of her popularity and showed a further progression of her music. In an attempt to reach a wider audience, the album combined many elements, such as complex orchestral sounds, African chanting, and elaborate musical effects. Additionally, instruments like the violin, Spanish guitar, trombone, the cavaquinho, and saxophone created a new sound. The singles encompassed a variety of musical styles. The title track "Falling into You" and "River Deep – Mountain High" (a Tina Turner cover) made prominent use of percussion instruments; "It's All Coming Back to Me Now" (produced by its writer Jim Steinman) and a remake of Eric Carmen's "All by Myself" maintained a soft-rock atmosphere, combined with the classical sound of the piano; and the No. 1 single "Because You Loved Me", which was written by Diane Warren, was a pop ballad that served as the theme to the 1996 film Up Close and Personal. Falling into You garnered career-best reviews for Dion. While Dan Leroy wrote that it was not very different from her previous work, and Stephen Holden of The New York Times and Natalie Nichols of the Los Angeles Times wrote that the album was formulaic, other critics, such as Chuck Eddy of Entertainment Weekly, Stephen Thomas Erlewine of AllMusic, and Daniel Durchholz, lavished the album as "compelling", "passionate", "stylish", "elegant", and "remarkably well-crafted". Falling into You became Dion's most critically and commercially successful album: it topped the charts in many countries and became one of the best-selling albums of all time. In 2013, CBC Music ranked Falling into You 33rd in their list of the 100 greatest Canadian albums ever. In the United States, the album reached No. 1, and was later certified 11× Platinum for over 11 million copies shipped. In Canada, the album was certified diamond for over one million copies shipped. The IFPI certified Falling into You 9× Platinum, an accolade that has been given to only two other albums in history, with one of the two being Dion's own album, Let's Talk About Love. The album also won Grammy Awards for Best Pop Album and the academy's highest honour, Album of the Year. Dion was asked to perform "The Power of the Dream" at the opening ceremony of the 1996 Atlanta Olympic Games. In March 1996, she launched the Falling into You Tour in support of her new album, performing concerts around the world for over a year. She followed Falling into You with Let's Talk About Love (1997), which was publicized as its sequel. The recording process took place in London, New York City, and Los Angeles, and featured a host of special guests, such as Barbra Streisand on "Tell Him"; the Bee Gees on "Immortality"; and tenor Luciano Pavarotti on "I Hate You Then I Love You". Other musicians included Carole King, Sir George Martin, Bryan Adams and Jamaican singer Diana King, who added a reggae tinge to "Treat Her Like a Lady". Let's Talk About Love was another major success, reaching No. 1 all over the world, attaining platinum status in twenty-four sales territories, and becoming the fastest selling album of her career. In the United States, the album topped the chart in its seventh week of release, and was later certified 10× Platinum in the US for over 10 million copies shipped. In Canada, the album sold 230,212 copies in its first week of release, which remains a record. It was eventually certified diamond in Canada for over one million copies shipped. The most successful single from the album was the classically influenced ballad "My Heart Will Go On", which was written and composed by James Horner and Will Jennings, and produced by Horner and Walter Afanasieff. Serving as the love theme for the 1997 blockbuster film Titanic, the song topped the charts across the world and became Dion's signature song. Horner and Jennings won the Academy Award and Golden Globe for Best Original Song, while Dion herself garnered two Grammy Awards for Best Female Pop Vocal Performance and the most coveted, Record of the Year, (the song itself won four awards, but two were presented to the songwriters). "My Heart Will Go On" and "Think Twice" made her the only female artist in the UK to have two singles to sell more than a million copies. In support of her album, she embarked on the Let's Talk About Love Tour between 1998 and 1999. Dion ended the 1990s with three more extremely successful albums: the Christmas album These Are Special Times (1998), the French-language album, S'il suffisait d'aimer, and the compilation album All the Way... A Decade of Song (1999). On These Are Special Times, she co-wrote the song "Don't Save It All for Christmas Day" along with Ric Wake and Peter Zizzo. The album was her most classically influenced yet, with orchestral arrangements found on virtually every track. The album featured the single "I'm Your Angel" (a duet with R. Kelly), which became her fourth US No. 1 single, and a smash hit across the world. The album's second single "The Prayer" (a duet with Andrea Bocelli) served as the soundtrack of the 1998 film Quest for Camelot and won a Golden Globe Award for Best Original Song. All the Way... A Decade of Song drew together her most successful hits coupled with seven new songs, including the lead-off single "That's the Way It Is", a cover of Roberta Flack's "The First Time Ever I Saw Your Face", and "All the Way", a duet with Frank Sinatra. All the Way became one of the best-selling compilation albums of all time, reaching No. 1 in the United States for three weeks. The album was later certified 7x Platinum in the US for 7 million copies shipped. It also topped the charts in the UK, Canada, and Australia. Her last French-language studio album of the 1990s, S'il suffisait d'aimer, was very successful as well, topping the charts in every major French-speaking country, including France, Switzerland, the Wallonia region of Belgium, and Canada. In France, the album was certified diamond, selling 1.5 million copies. By the end of the 1990s, Dion had sold more than 130 million records worldwide, and had won a slew of industry awards. Her status as one of the music industry's biggest pop divas was further solidified when she was asked to perform on VH1's Divas Live special in 1998, with superstars Aretha Franklin, Gloria Estefan, Shania Twain, and Mariah Carey. That year, she also received two of the highest Canadian honours: "Officer of the Order of Canada for Outstanding Contribution to the World of Contemporary Music" and "Officer of the National Order of Quebec". A year later, she was inducted into the Canadian Broadcast Hall of Fame, and was honoured with a star on Canada's Walk of Fame. Starting from the mid-1990s, the pop rock influence that was more noticeable in her earlier releases was replaced by a more mature feel. Additionally, the recurring theme of "love" dominated most of her releases, which led to some critics dismissing her music as banal. Other critics, like Elysa Gardner and Jose F. Promis, praised her voice during this period, describing it as a "technical marvel". Steve Dollar, in his review of These Are Special Times, opined that Dion was a "vocal Olympian for whom there ain't no mountain—or scale—high enough". 2000–2003: Hiatus, A New Day Has Come, One Heart, and 1 fille & 4 types After releasing and promoting thirteen albums during the 1990s, Dion stated that she needed to settle down, and announced on her latest album All the Way... A Decade of Song, that she needed to take a step back from the spotlight and enjoy life. Angélil's diagnosis with esophageal cancer also prompted her to hiatus. While on break, she was unable to escape the spotlight. In 2000, the National Enquirer published a false story about the singer. Brandishing a picture of Dion and her husband, the magazine misquoted her, printing the headline, "Celine — 'I'm Pregnant With Twins!'" She later sued the magazine for more than $20million. The editors of the Enquirer printed an apology and a full retraction to her in the next issue, and donated money to the American Cancer Society in honour of her and her husband. A year after the incident, after undergoing fertility treatments, she gave birth to a son, René-Charles Dion Angélil, on 25 January 2001, in Florida. Following the 11 September attacks, Dion returned to the music scene, and in a televised performance sang "God Bless America" at the benefit concert America: A Tribute to Heroes. Chuck Taylor of Billboard wrote, "the performance ... brings to mind what has made her one of the celebrated vocalists of our time: the ability to render emotion that shakes the soul. Affecting, meaningful, and filled with grace, this is a musical reflection to share with all of us still searching for ways to cope." She performed it again in 2003 during pregame festivities for Super Bowl XXXVII in San Diego. In December 2001, she published her autobiography My Story, My Dream which chronicled her rags-to-riches story. Dion ended her three-year sabbatical from the music industry with the aptly titled album A New Day Has Come, released in March 2002. The album was her most personal yet, with songs focusing on her motherhood and maturation as a woman such as "A New Day Has Come", and "Goodbye's (The Saddest Word)". She stated: "becoming a mother makes you a grown-up." She stated, "A New Day Has Come, for Rene, for me, is the baby. It has everything to do with the baby ... That song "A New Day Has Come" represents very well the mood I'm feeling right now. It represents the whole album." A New Day Has Come debuted at No. 1 in more than 17 countries, including the United Kingdom and Canada. In the United States, the album debuted at No. 1 on the Billboard 200, with first-week sales of 527,000 copies; marking her first No. 1 debut on the chart, as well as the highest debut sales week of her career in the US. It was eventually certified 3× Platinum in the United States, and 6× Platinum in Canada. While the album was commercially successful, critical reviews suggested that it was "forgettable" and the lyrics were "lifeless". Both Rob Sheffield of Rolling Stone magazine, and Ken Tucker of Entertainment Weekly, stated that Dion's music had not developed much during her break, and classed her material as trite and mediocre. Sal Cinquemani of Slant Magazine called the album "a lengthy collection of drippy, gooey pop fluffer-nutter". The first single off the album, A New Day Has Come peaked at No.22 on the Billboard Hot 100 charts, being an airplay-only release. On the Hot Adult Contemporary Tracks, however, the song spent 21 consecutive weeks at No. 1, breaking the record for the longest span at the top. The previous record holders were Phil Collins' You'll Be in My Heart and Dion's own Because You Loved Me, both of which lasted nineteen weeks at No. 1. The album's next single, "I'm Alive", was featured on the soundtrack for Stuart Little 2 (2002), and was ranked number 2 on the European Hot 100 Singles, and number 6 on the Hot Adult Contemporary Tracks in the United States. During 2002, she performed for many benefit concerts, including her second appearance on VH1 Divas Live, a concert to benefit the VH1 Save The Music Foundation, alongside Cher, Anastacia, Dixie Chicks, Mary J. Blige, Whitney Houston, Cyndi Lauper, Shakira, and Stevie Nicks. In conjunction with an endorsement deal with Chrysler, she released One Heart (2003), an album that represented her appreciation for life. The album largely consisted of pop and dance music—a deviation from the soaring, melodramatic ballads, for which she had been known. Although the album achieved moderate success, One Heart was met with mixed criticism, and words such as "predictable" and "banal" appeared even in the most lenient reviews. A cover of the 1989 Cyndi Lauper hit "I Drove All Night", released to launch her advertising campaign with Chrysler, incorporated elements of dance-pop and rock and roll. The advertising deal was met with criticism, with some stating that Dion was trying to cater to her sponsors. After One Heart, she released her next English-language studio album, Miracle (2004). Miracle was a multimedia project conceived by Dion and Australian photographer Anne Geddes and had a theme centring on babies and motherhood. The album was filled with lullabies and other songs of maternal love and inspiration, including covers of Louis Armstrong's "What a Wonderful World" and John Lennon's "Beautiful Boy". The reviews for Miracle were mixed. Stephen Thomas Erlewine of Allmusic.com gave the album three of out five stars, stating, "The worst you can say about the record is that there are no surprises, but the audience for this record doesn't want surprises; they want comfort, whether it arrives in polished music or artsy photos of newborns, and Miracle provides both, which makes it appealing for those expectant or new mothers in Dion's audience." Chuck Taylor of Billboard magazine wrote that the single "Beautiful Boy" was "an unexpected gem" and called Dion "a timeless, enormously versatile artist", Chuck Arnold of People Magazine, however, labelled the album as excessively sentimental, while Nancy Miller of Entertainment Weekly opined that "the whole earth-mama act is just opportunism, reborn". Miracle debuted at No. 4 on the Billboard 200 chart and No. 1 in Canada and was eventually certified platinum by the RIAA. The francophone album 1 fille & 4 types (1 Girl & 4 Guys), released in October 2003, fared better than her previous two releases and showed her trying to distance herself from the "diva" image. She recruited Jean-Jacques Goldman, Gildas Arzel, Eric Benzi, and Jacques Veneruso, with whom she had previously worked on two of her best-selling French albums S'il suffisait d'aimer and D'eux. Labeled "the album of pleasure" by Dion herself, the album cover showed her in a simple and relaxed manner, contrary to the choreographed poses usually found on her album covers. The album achieved widespread commercial success in France, Canada, and Belgium where it reached No. 1. In France, the album debuted at No. 1 and was later certified 2× platinum after selling over 700,000 copies. Critic Stephen Erlewine of AllMusic wrote that Dion's vocals were "back at top of their game" and that she was "getting back to pop basics and performing at a level unheard in a while". Though her albums were commercially successful, they did not achieve the sales or the reception of her previous works. Her songs received less airplay as radio became less embracing of balladeers like Dion, Carey, and Houston, and was focused on more up-tempo, Urban/Hip-hop songs. By 2004, Dion had accumulated sales of more than 175 million albums worldwide and received the Chopard Diamond Award from the World Music Awards for her achievements. According to the official World Music Awards website, the award is rare; it is "not presented every year" and an artist can be presented with the award only for selling "over 100 million albums during their career". 2003–2007: A New Day... In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza, A New Day..., at The Colosseum at Caesars Palace, Las Vegas. This move was generally seen as risky, but journalist Miriam Nunzio wrote that it was "one of the smartest business decisions in years by any major recording artist". Dion conceived the show after seeing O by Franco Dragone during her break from recording, and it premiered on 25 March 2003, in a 4,000-seat arena specifically designed for her show and modelled after the Roman Colosseum. Many stars attended the opening night including Dick Clark, Alan Thicke, Kathy Griffin, Lance Bass, and Justin Timberlake, who hosted the television special. The show, directed by Dragone and choreographed by the renowned Mia Michaels, was a combination of dance, music, and visual effects. It included Dion performing her biggest hits against an array of dancers and special effects. Reviewer Mike Weatherford felt that, at first, Dion was not as relaxed as she should be, and at times, it was hard to find the singer among the excessive stage ornamentation and dancers. However, he noted that the show had become more enjoyable over the course of its run, because of her improved stage-presence and simplified costumes. The show was well-received by audiences, despite the complaints of expensive tickets; it routinely sold out until its end in late 2007. Ticket prices averaged $135.33. According to Pollstar, Dion sold 322,000 tickets and grossed US$43.9 million in the first half of 2005, and by July 2005, she had sold out 315 out of 384 shows. By the end of 2005, she grossed more than US$76 million, placing sixth on Billboard's Money Makers list for 2005. Because of the show's success, her contract was extended into 2007 for an undisclosed sum. On 5 January 2007, it was announced that the show would end on 15 December 2007, with tickets for the period after October 2007 having gone on sale from 1 March. According to Billboard, A New Day... is the most successful residency of all time, grossing over US$385 million ($ million in dollars) and drawing nearly three million people to 717 shows. The Live in Las Vegas: A New Day... DVD was released on 10 December 2007, in Europe and the following day in North America. 2007–2010: D'elles, Taking Chances, and Taking Chances Tour On 21 May 2007, Dion released the French-language album D'elles (About Them), which debuted at the top of the Canadian album charts, selling 72,200 copies in its first week. It marked her tenth No. 1 album in the SoundScan era, and her eighth to debut at the top position. In Canada, the album has been certified 2× platinum, and within the first month had already shipped half a million units worldwide. D'Elles also reached No. 1 in France and Belgium. The first single "Et s'il n'en restait qu'une (je serais celle-là)" (meaning "And If There Was Only One Woman Left (I Would Be That One)") debuted at the top of the French singles chart a month earlier. Later that same year, she released the English album Taking Chances on 12 November in Europe, and 13 November in North America. Her first English studio album since 2003's One Heart, it featured pop, R&B, and rock inspired music. For this album, she collaborated with John Shanks and ex-Evanescence guitarist Ben Moody, as well as Kristian Lundin, Peer Åström, Linda Perry, Japanese singer Yuna Ito, and R&B singer-songwriter Ne-Yo. Dion stated, "I think this album represents a positive evolution in my career ... I'm feeling strong, maybe a little gutsier than in the past, and just as passionate about music and life as I ever was." She launched her year-long worldwide Taking Chances Tour on 14 February 2008, in South Africa, performing 132 dates in stadiums and arenas across five continents. The Taking Chances Tour was a great success in the United States, reaching the No. 1 spot on the Billboard Boxscore, having sold out every concert in the US and Canada. In addition, she appeared on Idol Gives Back for a second year in a row. Dion was nominated for six Juno Awards in 2008, adding to her 53 previous nominations (an all-time record). Her nominations included Artist of the Year, Pop Album of the Year (for Taking Chances), Francophone Album of the Year (for D'elles) and Album of the Year (for both Taking Chances and D'elles). The following year, she was nominated for 3 Juno Awards including the Fan Choice Award, Song of the Year (for Taking Chances), and Music DVD of the Year (for Live in Las Vegas — A New Day...) On 22 August 2008, Dion presented a free outdoor concert, mostly in French, on the Plains of Abraham, in Québec City, Canada, for the 400th anniversary of Québec City. The celebration gathered approximately 490,000 people. The concert, called Céline sur les Plaines, was released on DVD on 11 November 2008, in Québec and was released on 20 May 2009, in France. Late October 2008 saw the worldwide release of a comprehensive English-language greatest hits album, My Love: Essential Collection. In May 2009, Dion was named the 20th best-selling artist of the decade and the second-best-selling female artist of the decade in the United States, selling an estimated 17.57 million copies of her albums there since 2000. In June 2009, Forbes reported that she earned $100 million during 2008. In December 2009, Pollstar announced that she was the best-selling solo touring act of the decade and the second-best-selling touring act of the decade, behind only the Dave Matthews Band. she grossed $522.2 million during the decade, a large portion of that sum coming from her five-year residency at Caesars Palace. On 17 February 2010, Dion released into theatres a documentary film about her Taking Chances Tour, titled, Celine: Through the Eyes of the World. The documentary shows behind-the-scenes footage of her both onstage and offstage, along with footage of her with her family as they travelled the world with her. The distributor is the Sony Pictures subsidiary, Hot Ticket. The film was later released on Blu-ray and DVD on 4 May 2010, along with the CD/DVD, Taking Chances World Tour: The Concert. At the 52nd Grammy Awards in February 2010, Dion joined Carrie Underwood, Usher, Jennifer Hudson, and Smokey Robinson to perform the song "Earth Song" during the 3-D Michael Jackson tribute. In January 2010, The Los Angeles Times presented its annual list of the top ten largest earners of the year, revealing that Dion took the top spot for the entire decade, with $US747.9 million in total revenue from 2000–2009. The largest haul came from ticket sales, totalling $522.2 million. Additionally, she was named "Artist of the Decade" in her native Canadian province of Québec, announced by the Montréal-based newspaper, Le Journal de Québec in 2009 December. A public online survey asked responders to vote for whom they believe deserved the above-mentioned accolade. Furthermore, in a May 2010 Harris Poll, Dion was named the most popular musician in the United States, ahead of U2, Elvis Presley, and The Beatles while factoring in gender, political affiliations, geographic region of residence, and income. Specifically, she was the most popular musician in the female demographic, as well as among all Democrats, those who live in the eastern United States and southern United States, and those who have incomes between US$35k and US$74.9k. In September 2010, she released the single "Voler", a duet with French singer Michel Sardou. The song was later included on Sardou's album. In addition, it was announced in October 2010 that Dion wrote and composed a new song for Canadian singer, Marc Dupré entitled "Entre deux mondes". 2011–2014: Celine, Sans attendre, and Loved Me Back to Life In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. In 2018, Billboard stated her residency Celine is the second most successful residency of all time. By the end of 2011, Dion has sold 331,000 albums (despite not releasing any studio album since 2007) and 956,000 digital tracks in the United States. For a record sixth time, she performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, she appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, she released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, she made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. She began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. In June 2013, Dion co-produced the show titled "Voices" by Véronic DiCaire at the Bally’s Hotel & Casino’s Jubilee Theatre and was presented 145 times up until 2015. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Céline une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. 2014–present: Husband's death, Encore un soir, Courage, and return to Vegas On 13 August 2014, Dion announced the indefinite postponement of all her show business activities, including her concert residency at Caesars Palace in Las Vegas, and the cancellation of her Asia Tour, because of the worsening of her husband's health after he underwent the removal of a cancerous tumor in December 2013. However, on 20 March 2015, she announced that she would be returning to The Colosseum at Caesars Palace in late August 2015. On 14 January 2016, she cancelled the rest of the January performances due to her husband's and her brother's death from cancer. Dion resumed the residency on 23 February to a sold-out crowd and rave reviews. In October 2015, Dion announced on social media that she had begun working on a new French album, posting a photo by the side of Algerian singer Zaho. Dion's French single, "Encore un soir", was released on 24 May 2016. On 20 May, she released a cover of Queen's song "The Show Must Go On", featuring Lindsey Stirling on violin. She performed "The Show Must Go On" at the 2016 Billboard Music Awards on 22 May, and received the Billboard Icon Award (presented to her by her son, René-Charles Angélil) in recognition of her career spanning over three decades. The singer's new French album, Encore un soir, was released on 26 August 2016. It features fifteen tracks performed in French and, according to the singer, has a personal choice of the songs – more uplifting lyrics were chosen. Encore un soir topped the charts in France, Canada, Belgium and Switzerland, and was certified Diamond in France, 2× Platinum in Canada and Platinum in Belgium and Switzerland. It has sold over 1.5 million copies worldwide. In 2016 and 2017, Dion toured Europe and Canada with two sold-out concert tours. On 9 September 2016, she released "Recovering", a song written for her by Pink after Dion's husband René Angélil died in January 2016. Dion also recorded "How Does a Moment Last Forever" for the Beauty and the Beast: Original Motion Picture Soundtrack, released in March 2017. Her compilation, Un peu de nous topped the chart in France in July and August 2017. On 3 May 2018, she released the single "Ashes" from the film Deadpool 2. The remix version of the song topped the US Dance Club Songs chart in July 2018. From June to August 2018, she toured the Asia-Pacific region and grossed $56.5 million from 22 shows. On 24 September 2018, she announced the end of her Las Vegas residency Celine, with the final date set for 8 June 2019. She is working on a new English album. In January 2019, she performed "A Change Is Gonna Come" at the "Aretha! A Grammy Celebration for the Queen of Soul" Franklin's tribute concert, to be broadcast in March 2019. In March 2019, she was one of 11 singers from Quebec, alongside Ginette Reno, Diane Dufresne, Isabelle Boulay, Luce Dufault, Louise Forestier, Laurence Jalbert, Catherine Major, Ariane Moffatt, Marie Denise Pelletier, and Marie-Élaine Thibert, who participated in a supergroup recording of Renée Claude's 1971 single "Tu trouveras la paix" after Claude's diagnosis with Alzheimer's disease was announced. On 3 April 2019, during a Facebook Live event, Dion announced her 2019/2020 Courage World Tour, beginning in Quebec City on 18 September 2019. She also announced a new English language album of the same name, released in November 2019. On 18 September 2019, Dion released three songs, "Lying Down", "Courage", and "Imperfections" from her upcoming album, Courage. On 26 February 2020, Dion released two songs as exclusive Spotify singles: an acoustic version of Imperfections, and a cover of Chris Isaak's Wicked Game. Isaak joined Dion and sang vocals on the track. On 10 June 2020, Dion announced that her Courage World Tour will kick off again in 2021, after the tour was postponed due to the COVID-19 pandemic. On 21 May 2021, it was announced Dion would return to Vegas, in November of the same year, for a limited-run installment of ten dates in collaboration with Resorts World Las Vegas. Billboard listed Dion as the third top paid musician of 2020 (second by female artist), with total of earnings of $17.5 million. On 15 January 2022, a statement posted to Dion's website and social media accounts announced that the U.S. and Canadian concert dates for March-April 2022 were canceled because of “severe and persistent muscle spasms” that are preventing Dion from performing onstage. Artistry Influences Dion cites idols as varied as Michael Jackson, Aretha Franklin, Charles Aznavour, Carole King, Anne Murray, Barbra Streisand, and the Bee Gees, all of whom she would eventually collaborate with. Her music has been influenced by numerous genres, including pop, rock, gospel, R&B, and soul, and her lyrics focus on themes of poverty, world hunger, and spirituality, with an emphasis on love and romance. After the birth of her first child, her work increasingly focused on maternal love. Musical style Dion has faced considerable criticism from critics, who state that her music often retreats behind pop and soul conventions, and is marked by excessive sentimentality. According to Keith Harris of Rolling Stone magazine, "[Dion's] sentimentality is bombastic and defiant rather than demure and retiring ... [she] stands at the end of the chain of drastic devolution that goes Aretha–Whitney–Mariah. Far from being an aberration, Dion actually stands as a symbol of a certain kind of pop sensibility—bigger is better, too much is never enough, and the riper the emotion the more true." Her francophone releases, by contrast, tend to be deeper and more varied than her English releases, and consequently have achieved more credibility. Critics have stated that Dion's involvement in the production aspect of her music is fundamentally lacking, which results in her work being overproduced and impersonal. However, coming from a family in which all of her siblings were musicians, she dabbled in learning how to play instruments like piano and guitar, and practised with a Fender Stratocaster during the recording sessions for her album Falling into You. Occasionally, Dion has contributed to the writing of a handful of her English and French songs, as well as writing a few songs for other artists such as Marc Dupre. Additionally, as her career progressed, she found herself taking charge in the production of her albums. On her first English album, which she recorded before she had a firm command of the English language, she expressed disapproval, which could have been avoided if she had assumed more creative input. By the time she released her second English album Celine Dion, she had assumed more control of the production and recording process, hoping to dispel earlier criticisms. She stated, "On the second album I said, 'Well, I have the choice to be afraid one more time and not be 100% happy, or not be afraid and be part of this album.' This is my album." Besides her contributions to some of her early French albums, Dion wrote a few of the songs on Let's Talk About Love (1997) and These Are Special Times (1998). She is often the subject of media ridicule and parody and is frequently impersonated on shows such as MADtv, Saturday Night Live, South Park, Royal Canadian Air Farce, and This Hour Has 22 Minutes for her strong accent and onstage gesticulations. However, she has stated that she is unaffected by the comments, and is flattered that people take the time to impersonate her. She even invited Ana Gasteyer, who parodied her on SNL, to appear onstage during one of her performances in New York City. While she is rarely politically outspoken, in 2005 following the Hurricane Katrina disaster, Dion appeared on Larry King Live and tearfully criticized the US government's slow response in aiding the victims of the hurricane: "There's people still there waiting to be rescued. To me that is not acceptable ... How can it be so easy to send planes in another country to kill everybody in a second and destroy lives. We need to serve our country." After her interview, she stated, "When I do interviews with Larry King or the big TV shows like that, they put you on the spot, which is very difficult. I do have an opinion, but I'm a singer. I'm not a politician." Voice and timbre Dion once claimed to be a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, Kent Nagano, maestro of the Munich Symphony Orchestra, remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the recording industry during the 1990s, alongside other female artists, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazine's list of "The 100 Outstanding Pop Vocalists". Dion is often compared to Houston and Carey for her vocal style, and to her idol Barbra Streisand for her voice. She is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn." Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Libération, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, she is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that she uses: the Québécois, the French, and the American. Her self-titled 1992 album was promoted with the slogan "Remember the name because you'll never forget the voice." Legacy Dion is regarded as one of pop music's most influential vocalists. She has been referred to as the "Queen of Power Ballads" by the media.. Billboard called Dion the "Queen of Pop". Her music and vocal styling, alongside that of Whitney Houston and Mariah Carey, have been said to shape how the bulk of modern female pop vocalists sing. These three artists have been widely credited with reviving the power ballad, and in doing so reshaping the adult contemporary radio format, making it one of the most popular formats of the 1990s and early 2000s. In 2002, Billboard named her as the "Best-selling contemporary female artist in history". According to producer, musician, and former American Idol judge Randy Jackson, Dion, Houston, and Carey are the voices of the modern era. Music critic and Dion biographer Carl Wilson notes that her "fame and influence is also renewed and expressed regularly these days by American Idol, the largest mass musical phenomenon of the past decade, where Celine's stood solidly in its pantheon of singers for young people to emulate". Many contestants on the countless televised talent competitions that have risen at the turn of the millennium often emulate Dion, Houston and Carey and cite them as idols. MTV also praised Dion by saying: "Céline Dion was better than almost anyone at capitalizing on pop’s ability to articulate feelings in sensational, over-the-top ways." Numerous artists have either mentioned Dion as a major influence or as one of their favourite singers including: Britney Spears, Rihanna, Adele, Josh Groban, Delta Goodrem, Leona Lewis, Jennifer Hudson, Vanessa Hudgens, Kelly Clarkson, Perrie Edwards, Loren Allred, Brazilian singer Wanessa Camargo, Ariana Grande, Sam Smith, Frank Ocean, Ava Max, Charlotte Cardin, and V (from BTS) among many others. Country singer Martina McBride is widely heralded by the press as the Celine Dion of Country music. Many artists have also praised Dion's voice, singing ability or expressed an interest in working with her including Met Opera conductor and musical director Yannick Nézet-Séguin, Beyoncé, Carlos Santana, Elton John, OneRepublic, Coldplay, Sharon Osbourne, Nicole Scherzinger, Ne-Yo, Carole King, Barbra Streisand, Luciano Pavarotti, Bee Gees, Sir George Martin, Justin Bieber, Jean-Jacques Goldman, Drake and Cher. Timbaland stated "Celine has such a beautiful, mesmerizing voice. She is so talented. I think we could create something that is a classic like she is already." Josh Groban remarked "She's a powerhouse. In this day and age, when more and more studio-produced, tiny-tiny voices are being rewarded ... she has this extraordinary instrument." According to Diane Warren, "Celine is the best singer by far of her generation", an opinion shared by Quincy Jones, Tommy Mottola, and David Foster. Moreover, Shania Twain and Jennifer Lopez have praised her dynamic stage presence, with Jennifer Lopez commenting on American Idol: "Celine gets on stage, she owns the stage, she runs all over that stage, she stops that stage." Leona Lewis is also a huge fan of Céline Dion saying "Celine is someone I aspire to be like in every way. "Gosh – I can't wait. I'm in the middle of picking out dresses at the moment. Celine is definitely one of my heroes. She is amazing." American singer and actress Lea Michelle said that she listened to Céline Dion's music while in the process of making her sophomore album 'Places' and cited her as one of her vocal influences. Godmother of Soul Patti LaBelle called Dion as one of the greatest singers ever. Pop singer Kelly Clarkson also praised Dion's vocal ability saying: "she has two sets of lungs when she sings." and also called her the most gifted vocalist on the planet. Dion holds the Guiness World Record for the most Juno Awards won for Album Of The Year (tied with Michael Buble & Arcade Fire). She won 3 out of the 13 nominations she received in the category throughout her career. Dion is the 3rd most decorated artist in Juno Awards history, winning 20 out of the 75 total nominations ever, becoming the most nominated artist in the awards history as well. In 1997-1998, Dion sold more than 60 million albums, and was estimated to sell a record once every 1.2 seconds. In 2017, Dion broke records across the UK as the highest grossing artist at each UK venue where she performed which included dates at the O2 Arena in London, Leeds First Direct Arena, Birmingham’s Barclaycard Arena and the SSE Hydro in Glasgow. John Meglen, president and co-CEO, Concerts West commended her by saying: "She really is the voice of our lifetime." In 2018, there were over 300,000 Taiwanese fans that clambered for the 20,000 tickets available for Célines first concert ever in Taiwan which caused the system to lag for 30 minutes. The demand caused them to add two additional shows eventually. Cultural impact In Francophone music industry On a cultural level, Dion is credited for introducing francophone music to many non-francophone countries around the globe. Her albums D'eux and S'il suffisait d'aimer remain the best selling francophone albums in history, gaining unprecedented success in non-Francophone markets such as the United Kingdom, Poland, Netherlands, Portugal, Greece, Austria, Japan, and New Zealand. According to RFI Musique, she "has done her bit for French music over the years, assuring the success of French songs which would probably never have got beyond Francophone borders without her ... Without Celine, French record sales would be dramatically lower!" In May 2008, she was awarded France's highest award, as Knight of the Legion of Honour by President of France Nicolas Sarkozy. Sarkozy praised Dion and stated: "France thanks you because your talent and success have contributed to the influence of the French language outside our borders". In Las Vegas strip She is also credited for both revitalizing and revolutionizing the entertainment scene in Las Vegas with the gargantuan successes of her residencies there. She signed a multi-million dollar deal worthed $100 million to do a residency in Vegas and is considered one of the most lucrative and risky in the touring industry. Billboard credits Dion as the one who pioneered modern residencies saying: "Since Dion's debut, hundreds of artists have tried their hand at Vegas residencies, including, most recently, Lady Gaga, Bruno Mars, Usher, Luke Bryan, Katy Perry, Rod Stewart and Sting. Once considered the domain of artists long past their peak, today's Las Vegas residency shows are big business, generating millions in sales." Moreover, Billboard also said: "She changed history and she completely changed Las Vegas," said Nelson, who notes the new residencies being announced for artists like Cardi B, Christina Aguilera and Jennifer Lopez aren't really at the same production level or scale of what Dion created with her husband René Angélil, as well as Meglen, Nelson and former AEG CEO Tim Leiweke." Dion is popularly referred as the reigning "Queen of Las Vegas" by various media outlets for her impact and legacy in the city. According to Gary Bongiovanni, president and editor-in-chief of Pollstar, "Celine redefined what artists can do in Las Vegas, helping to make it arguably the busiest entertainment city in the world." Kurt Melien, vice-president of entertainment at Caesar's Palace stated "Celine was a pioneer without question ... Twenty years ago, we couldn't have got someone the stature of Britney Spears to appear in Vegas. Stars likes her would never have considered it if Celine hadn't paved the way. She changed the face of modern Vegas." The Guardian listed Dion's Vegas residency as one of the 50 gigs that changed music, crediting her as the one who revived it, further saying: "it was Céline Dion who turned Caesars into the stage for a glorious pop comeback. Her initial five-year run was followed by a further eight years – and prompted copycat turns by Britney Spears, Pink and Katy Perry. In the economy Regarding her financial impact on Las Vegas, Stephen Brown, director of the Centre for Business and Economic Research in Las Vegas, commented: "People will come to the city just for her and they will spend money and as a consequence, she has an outsized impact on the economy", then adding "Bigger than Elvis, Sinatra and Liberace put together? Definitely." Estimations indicate that Dion's show will create up to 7,000 indirect jobs and around $114 million worth of new economic activity in each of the three years for which she has been contracted. In businesses Forbes also discussed how entrepreneurs can reclaim the power in their business by being like Céline Dion as an example saying: "Well, remember back in 2017 when Dion launched her handbag line? During a press conference, she admitted her late manager (and husband) had always handled everything for her. Every aspect of her shows was pre-decided; every move, appearance and interview was programmed in advance. She just showed up and executed (which she did brilliantly). At the end of her handbag launch press release, she said "Now . . . I'm the boss.” Starting right then and there, she’d be the one calling the shots for her shows, her kids, her handbags and everything else that mattered to her. She was going to do things her way." In Fashion Celine Dion has received various acclaims from fashion critics for reinventing her fashion style over the years. The Guardian called her "The Joyous New Queen of Fashion". Harper's Bazaar also praised Dion for being an ultimate fashion risk-taker and called her a "Fashion Chameleon". Billboard dubbed her as "Streetwear Icon" after recapping the global icon's style evolution through the years. Vogue named her as one of music's most exuberant dressers, beloved as much for her glorious voice as her extravagant sense of style. Tatler discussed in an article how Cardi B might be the next Céline Dion of Paris Fashion Week, proving that Céline is the standard for the occasion. Fashion stylist and image architect Law Roach praised Celine Dion, calling her "The Queen of Camp" & "The Queen of Glitter & Sequins". Dion further cemented her name in the fashion world by wearing the reverse tuxedo at 1999 Academy Awards, which became one of the most talked ensembles of that time. Vogue also listed her iconic 1999 reverse tuxedo as one of the most controversial looks of all time saying it was undeniably the highlight of the year. W also listed the iconic ensemble as one of the most memorable dresses of all time. In February 2020, Sergio Guadarrama, a contestant of Project Runway, copied the idea of reverse tuxedo and claimed it was his original idea and had even claimed that he had no idea about the iconic tuxedo, which left the fans of the show disappointed. Breaking music barriers Vice discussed how Dion's music made impact in Nigerian culture, saying: "By the 2000s, Celine Dion was basically the queen of Nigerian airwaves. It was impossible to watch TV or listen to the radio without hearing her music – either on adverts, or in Nollywood films featuring heartthrobs like Genevieve Nnaji and Ramsey Nouah." Billboard also discussed how Dion’s appearance at Jamaica Jazz & Blues changed the festival’s future. According to Walter Elmore, CEO of Art of Music Productions said Dion is by far the most expensive artist he has ever booked, further saying: “I have already received calls from the management of several major US artists who want to perform here next year because they heard Celine’s comments about our show’s production quality,” Elmore said. “Her performance confirms that we can bring the biggest artists on the planet to our little island.” In 2012, Dion visited Jamaica for the very first time which broke attendance records and caused traffic congestion around the concert venue. Vice discussed how Dion's music has been constant in dancehall clubs for decades, as many Jamaican dancehall artists cover her songs and remixing her ballads into anthems of dance hall. Further adding: "Several current dancehall musicians continue to use utilize Dion’s tunes with the addition of upbeat guitars, pan flutes, and backbeat shuffles that transform the music for consumption by dancehall fans." Being referenced in songs The Canadian comedy music group The Arrogant Worms released an album called Dirt in 1999 which contained a song called "Celine Dion", about the singers' stalker-like affection for her. Dion has also been referred/mentioned in various hit songs including "Dark Fantasy" by Kanye West, "911/Mr. Lonely" by Tyler, the Creator, "That Girl" by Pharrell Williams, "Work" by A$AP Ferg, and "What's The Use" by Mac Miller, to name a few. Cultural honors In 1999, Dion received a star on Canada's Walk of Fame and was inducted into the Canadian Broadcast Hall of Fame. She received a star on the Hollywood Walk of Fame in January 2004, one which she dedicated to her father, who had died the month prior. In May 2003, she placed at No. 10 on VH1's list of "50 Greatest Women of the Video Era". Dion's album Falling into You is included on the Rock and Roll Hall of Fame's Definitive 200 list. "My Heart Will Go On" was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts. In 2021, Dion was ranked by Forbes as the third richest woman in entertainment with an estimated net worth of US$460 million. In August 2008, she received an honorary doctorate in music from the Université Laval in Quebec City. In October 2010, Dion was named a Goodwill Ambassador, a program created by the UN in 1999, sharing this accolade with Oscar-winner Susan Sarandon. She also received several state decorations. In 2004, she was awarded the Society of Singers Lifetime Achievement Award. On 26 July 2013, she was awarded the highest rank of the Order of Canada, the Companion of the Order of Canada, by the Governor General of Canada and the investiture ceremony was held at Citadelle of Quebec, in which they said: "An incomparable artist, she is equally known for her compassion, generosity and commitment to a number of social and humanitarian causes. She is notably the national celebrity patron for Cystic Fibrosis Canada and honorary patron of the CHU Sainte-Justine. In addition, through her foundation, she also helps children in need and their families here in Canada and abroad." By the end of 1998, Dion was recognized by Billboard as the "Woman of the Year". They also stated how Céline's voice was featured in eight charting albums on Billboard 200 year-end chart which sold 18 million units during a calendar year (excluding her own catalog sales and recent releases at that time). West University of Timișoara conducted a research study that analyzes Céline Dion's contributions to global music culture in both spatial and temporal terms, In November 2013, Dion was inducted at the American Gaming Association Hall Of Fame for her outstanding contributions to the growth and stature of the gaming industry. In popular culture Dion was referenced as an antagonist character named "Feline Dion" from the hit animated series Totally Spies! which was aired in an episode in 2013. In 2021, French actress and filmmaker Valérie Lemercier released Aline, a film which fictionalized Dion's life with Lemercier playing a singer named "Aline Dieu". Other activities Business endeavours Les Productions Feeling Inc., also known as Feeling Inc. or just Feeling, is an artist management company based in Laval, Québec, Canada, and owned by Dion and her husband and manager, Rene Angélil. She is also founder of Nickels Restaurant food chain. She and her husband also own Le Mirage Golf Club and Schwartz's Restaurant. In association with Andre Agassi, Steffi Graf and Shaquille O'Neal, she opened a popular night club called Pure, located at Caesars Palace. Dion became an entrepreneur with the establishment of her franchise restaurant Nickels in 1990. She has since divested her interests in the chain and is no longer affiliated with Nickels, as of 1997. In 2003, Dion signed a deal with Coty, Inc. to release Celine Dion Parfums. Her latest fragrance, Signature, was released in September 2011 with an advertising campaign by New York agency Kraftworks NYC. Since its inception, Celine Dion Parfums has grossed over $850 million in retail sales. In October 2004, Air Canada hired Dion as part of their promotional campaign to unveil new service products and an updated livery. "You and I", the theme song sung by Dion, was written by advertising executives working for Air Canada. Dion also launched an eponymous bag and accessories line "Céline Dion Collection". According to Innee-Sedona International, the Asia partner for Bugatti Group said that it already topped $10 million sales after just three collections. Philanthropy Dion has actively supported many charity organizations, worldwide. She has promoted the Canadian Cystic Fibrosis Foundation (CCFF) since 1982, and became the foundation's National Celebrity Patron in 1993. She has an emotional attachment to the foundation; her niece Karine succumbed to the disease at the age of sixteen, in Dion's arms. In 2003, she joined a number of other celebrities, athletes, and politicians, including Josh Groban and Yolanda Adams to support "World Children's Day", a global fundraising effort sponsored by McDonald's. The effort raised money from more than 100 nations and benefited orphanages and children's health organizations. In addition, she has been a major supporter of the T. J. Martell Foundation, the Diana Princess of Wales Memorial Fund, and many health and educational campaigns. During the aftermath of Hurricane Katrina, she donated $1 million to the victims of the storm, and held a fund-raising event for the victims of the 2004 Asian tsunami, which subsequently raised more than $1 million. After the 2008 Sichuan earthquake, she donated $100,000 to China Children & Teenagers' Fund and sent a letter showing her consolation and support. Since 2004, she is involved, alongside husband René Angelil, with the Québec gay community by supporting the publication of health and HIV prevention materials in Gay Globe Magazine, owned by journalist Roger-Luc Chayer. She is also a member of Canadian charity Artists Against Racism. In November 2018, she launched a gender-neutral clothing line for kids, Celinununu. In 2009, Dion joined an effort along with Leonardo DiCaprio, James Cameron and Kate Winslet, to donate money to support the nursing home fees of the then-last living survivor of the sinking of the Titanic, Millvina Dean. The campaign resulted in $30,000 as donation. Personal life As the youngest of 14 children, Dion grew up wearing hand-me-downs and sharing a bed with several sisters. As a baby, she slept in a drawer to save on a crib. She was bullied at school and called "Vampire", owing to her teeth and skinny frame. Local tabloids even dubbed her "Canine Dion" in the teenage years of her career. She often spoke of running home from school to play music in the basement with her brothers and sisters. "I detested school", she would later write in her autobiography. "I had always lived surrounded by adults and children a lot older than me. I learned everything I needed to know from them. As far as I was concerned, real life existed around them." Dion's eldest sister was already in her twenties, married, and pregnant with her first child at the time Dion's mother, Thérèse, was pregnant with Celine. Dion first met René Angélil, her future husband and manager, in 1980, when she was 12 and he was 38, after her brother, Michel Dondalinger Dion, had sent him a demonstration recording of "Ce n'était qu'un rêve" ("It Was Only a Dream/Nothing But A Dream"), a song she, her mother Thérèse, and her brother Jacques Dion had jointly written. Over subsequent years, Angélil guided her to stardom in francophone territories. After the dissolution of Angélil's second marriage, he and Dion took a professional break and he spent the major part of the year in Las Vegas, while Dion was learning English and taking dance and vocal lessons in Montreal. Upon his return, "he avoided being alone with me for too long a time", she said in her 2000 autobiography My Story, My Dream. Meanwhile, she kept a photo of Angélil under her pillow, writing, "Before I fell asleep, I slipped it under the pillow, out of fear that my mother, who always shared a room with me, would find it." She also wrote "Less and less could I hide from myself the fact that I was in love with Rene; I had all the symptoms," and "I was in love with a man I couldn't love, who didn't want me to love him, who didn't want to love me." Dion's mother, who traveled everywhere with the singer until she was 19, was initially wary of her daughter's growing infatuation with a much older and twice-divorced Angélil, but Dion was insistent, telling her mother "I'm not a minor. This is a free country. No one has the right to prevent me from loving whoever I want to." Their professional relationship eventually turned romantic after Dion's win at the Eurovision Song Contest in Dublin in 1988; she was 20. The romance was known to only family and friends for five years, though Dion nearly revealed all in a tearful 1992 interview with journalist Lise Payette. Many years later, Payette penned the song "Je cherche l'ombre" for Dion's 2007 album D'elles. Dion and Angélil became engaged in 1993, on Dion's 25th birthday, and made their relationship public in the liner notes of her 1993 album The Colour of My Love. They married on 17 December 1994, at Notre-Dame Basilica in Montreal, Quebec. On 5 January 2000, Dion and Angélil renewed their wedding vows in Las Vegas. In May 2000, Dion had two small operations at a fertility clinic in New York to improve her chances of conceiving, after deciding to use in vitro fertilization because of years of failed attempts to conceive. Their first son, René-Charles Angélil, was born on 25 January 2001. Dion suffered a miscarriage in 2009. In May 2010, Angélil announced that she was 14 weeks pregnant with twins after a sixth treatment of in vitro fertilization. On Saturday, 23 October 2010, at 11:11 and 11:12 am respectively, Dion gave birth to fraternal twins by Caesarean section at St. Mary's Medical Center in West Palm Beach, Florida, The twins were named Eddy, after Dion's favourite French songwriter, Eddy Marnay, who had also produced her first five albums; and Nelson, after former South African President Nelson Mandela. She appeared with her newborn sons on the cover of 9 December 2010 issue of the Canadian edition of Hello! magazine. On 14 January 2016, Angélil died of throat cancer. His funeral was held on 22 January 2016, in Notre-Dame Basilica in Montreal, where he and Dion wed 21 years earlier. The couple's eldest son, René-Charles, gave the eulogy just three days before his 15th birthday. Following Angélil's death, Dion became the sole owner and president of her management and production companies, including CDA Productions and Les Productions Feeling. Two days after Angélil's deathon what would have been her husband's birthdayDion's brother, Daniel, died aged 59, also of cancer. On 22 March 2018, Dion's management team announced that she had been dealing with hearing irregularities for the previous 12–18 months due to patulous Eustachian tube and would undergo a minimally invasive surgical procedure to correct the problem after ear-drop medications appeared to be no longer working. Owing to her slight frame, Dion has for decades been subject of eating disorder rumors, which she has consistently denied: "I don't have an eating problem, and there's nothing more I can say about it". "My work requires me to be in great physical shape. I wouldn't have been able to live up to a hundred shows a year and travel ceaselessly from one end of the world to the other if I had eaten too much or not enough, or if, as certain magazines have claimed, I made myself throw up after each meal." She has often spoken about having been bullied at school and lacking confidence in her early years in the business: "I didn't have, visually, what it took. I was not pretty, I had teeth problems, and I was very skinny. I didn't fit the mold". Dion took up ballet under the guidance of her former dancer, Naomi Stikeman, who also previously performed for The National Ballet of Canada and La La La Human Steps, and former Cirque du Soleil dancer-turned-fashion-illustrator, Pepe Muñoz, who is also part of her styling team. She is also a skier and a regular at her son René-Charles' hockey games. Dion resides in Henderson, Nevada, in a house she bought with her husband in 2003. She previously owned homes in Montreal, Quebec, and Jupiter Island, Florida. Dion's older son René-Charles Angélil loves music and has tried to follow a musical path. Under the stage name Big Tip, he released in May 2018 on his SoundCloud account 6 rap songs including originals "The Kid", "The Apple" and "Never Stop" and two adaptations from The Weeknd songs, "Catwalks" sampling on The Weeknd's "Sidewalks" and a remix of The Weeknd's "Loft Music" as "Loft Music Remix". He also released the 5-track EP CasiNo. 5 in December 2020 using the artistic name RC Angelil. The EP includes the tracks "Mamba Mentality", "Money, Thrills and Rest", "No Ls", "GG4" (featuring PAKKA) and "LV". Discography French-language studio albums La voix du bon Dieu (1981) Céline Dion chante Noël (1981) Tellement j'ai d'amour... (1982) Les chemins de ma maison (1983) Chants et contes de Noël (1983) Mélanie (1984) C'est pour toi (1985) Incognito (1987) Dion chante Plamondon (1991) D'eux (1995) S'il suffisait d'aimer (1998) 1 fille & 4 types (2003) D'elles (2007) Sans attendre (2012) Encore un soir (2016) English-language studio albums Unison (1990) Celine Dion (1992) The Colour of My Love (1993) Falling into You (1996) Let's Talk About Love (1997) These Are Special Times (1998) A New Day Has Come (2002) One Heart (2003) Miracle (2004) Taking Chances (2007) Loved Me Back to Life (2013) Courage (2019) Concert tours and residencies Tours Les chemins de ma maison (1983–1984) Céline Dion en concert (1985) Tournée Incognito (1988) Unison Tour (1990–1991) Celine Dion in Concert (1992–1993) The Colour of My Love Tour (1994–1995) D'eux Tour (1995–1996) Falling into You: Around the World (1996–1997) Let's Talk About Love World Tour (1998–1999) Taking Chances World Tour (2008–2009) Tournée Européenne 2013 Summer Tour 2016 Celine Dion Live 2017 Celine Dion Live 2018 Courage World Tour (2019–2023) Residencies A New Day... (2003–2007) Celine (2011–2019) Celine (2022) Filmography Touched by an Angel The Nanny All My Children La fureur de Céline Des fleurs sur la neige Quest for Camelot as Juliana (singing voice) Céline sur les Plaines Celine: Through the Eyes of the World Sur la piste du Marsupilami Hell's Kitchen Muppets Most Wanted References Bibliography Céline Dion. Artist direct. Retrieved on 18 December 2005. "Celine Dion". Contemporary Musicians, Volume 25. Gale Group, 1999. "Celine Dion". Newsmakers 1995, Issue 4. Gale Research, 1995. Céline Dion. Rock on the Net. Retrieved 20 November 2005. Céline Dion. The Canadian Encyclopedia. Retrieved 2 July 2006 Céline Dion provided by VH1.com Retrieved 16 August 2005. Dion extends long Las Vegas stint. news.bbc.co.uk. Retrieved 5 November 2005. Durchholz, Daniel. Review: One Heart. St. Louis Post-Dispatch. St. Louis, Mo.: 24 April 2003. p. F.3 The 100 Outstanding Pop Vocalist covemagazine.com Retrieved 1 November 2005. Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties () World Music Awards Diamond Award Retrieved 1 November 2005, (Search by year required) Further reading External links CelineDion.com – Official website operated by Sony Music Canada (English, French). [ Celine Dion] at AllMusic [ Celine Dion] at Billboard.com 1968 births Living people 20th-century Canadian composers 20th-century Canadian women singers 20th-century women composers 21st-century Canadian composers 21st-century Canadian women singers 21st-century women composers 550 Music artists Ballad musicians Businesspeople from Florida Businesspeople from Quebec Canadian businesspeople in retailing Canadian child singers Canadian contemporary R&B singers Canadian dance musicians Canadian expatriate musicians in the United States Canadian women pop singers Canadian women rock singers Canadian women singers Canadian pop pianists Canadian restaurateurs Canadian Roman Catholics Canadian soft rock musicians Canadian sopranos Canadian soul singers Canadian voice actresses Canadian women in business Canadian women philanthropists Canadian women pianists Chevaliers of the Légion d'honneur Chevaliers of the Ordre des Arts et des Lettres Columbia Records artists Companions of the Order of Canada Epic Records artists Eurovision Song Contest entrants for Switzerland Eurovision Song Contest entrants of 1988 Eurovision Song Contest winners FAO Goodwill ambassadors Félix Award winners French-language singers of Canada French Quebecers Grammy Award winners Ivor Novello Award winners Juno Award for Album of the Year winners Juno Award for Artist of the Year winners Juno Award for Dance Recording of the Year winners Juno Award for Francophone Album of the Year winners Juno Award for International Album of the Year winners Juno Award for Single of the Year winners Juno International Achievement Award winners Las Vegas shows Musicians from Las Vegas Officers of the National Order of Quebec People from Charlemagne, Quebec People from Henderson, Nevada People from Jupiter Island, Florida Philanthropists from Florida Philanthropists from Nevada Philanthropists from Quebec Pop rock singers Singers from Quebec Singers with a three-octave vocal range Spanish-language singers of Canada Women restaurateurs World Music Awards winners

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Did this time period make her a millionaire?

Did the years between 2011 to 2014 make Celione Dion a millionaire?

Celine Dion

In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. Additionally, for a record sixth time, Dion performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, Dion appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, Dion released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, Dion made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. Dion began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. The music video for "Incredible" was uploaded onto Dion's official Vevo channel in early June 2014. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Celine une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. CANNOTANSWER

CANNOTANSWER

Céline Marie Claudette Dion (; born 30 March 1968) is a Canadian singer. She is noted for her powerful and technically skilled vocals. Dion is the best-selling Canadian recording artist, and the best-selling French language artist of all time. Her music has incorporated genres such as pop, rock, R&B, gospel, and classical music. Born into a large family from Charlemagne, Quebec, she emerged as a teen star in her home country with a series of French-language albums during the 1980s. She first gained international recognition by winning both the 1982 Yamaha World Popular Song Festival and the 1988 Eurovision Song Contest, where she represented Switzerland. After learning to speak English, she signed on to Epic Records in the United States. In 1990, Dion released her debut English-language album, Unison, establishing herself as a viable pop artist in North America and other English-speaking areas of the world. Her recordings since have been mainly in English and French although she has also sung in Spanish, Italian, German, Latin, Japanese, and Chinese. During the 1990s, she achieved worldwide fame after releasing several best-selling English-language albums in music history, such as Falling into You (1996) and Let's Talk About Love (1997), which were both certified diamond in the US and over 30 million sales worldwide each. She also scored a series of international number-one hits, including "The Power of Love", "Think Twice", "Because You Loved Me", "It's All Coming Back to Me Now", "My Heart Will Go On", and "I'm Your Angel". Dion continued releasing French albums between each English record; D'eux (1995) became the best-selling French-language album of all time, while S'il suffisait d'aimer (1998), Sans attendre (2012), and Encore un soir (2016), were all certified diamond in France. During the 2000s, she built her reputation as a highly successful live performer with A New Day... on the Las Vegas Strip (2003–07), which remains the highest-grossing concert residency of all time, as well as the Taking Chances World Tour (2008–09), one of the highest-grossing concert tours of all time. Dion is also one of the best-selling music artists of all time, with record sales of more than 200 million worldwide. Although her releases have often received mixed critical reception, Dion is regarded as one of pop music's most successful vocalists. She has won five Grammy Awards, including Album of the Year and Record of the Year. Billboard named her the "Queen of Adult Contemporary" for having the most number-one songs on the radio format for a female artist. Dion is the second best-selling female artist in the US during the Nielsen SoundScan, the 8th all-time best-performing top female artist in the United States, and the sixth all-time best-performing female soloist in Billboard 200 history. In 2003, she was honoured by the International Federation of the Phonographic Industry (IFPI) for selling over 50 million albums in Europe. In 2008, Dion was recognized as the Best-selling International Artist in South Africa. Life and career 1968–1989: Early life and career beginnings Dion was born in Charlemagne, Quebec, northeast of Montreal, the youngest of 14 children of Thérèse (née Tanguay, 1927–2020), a homemaker, and Adhémar Dion (1923–2003), a butcher, both of French-Canadian descent. She was raised a Roman Catholic in a poor but, by her own account, happy home in Charlemagne. Music had always been a major part of the Dion family, and she was named after the song "Céline", which French singer Hugues Aufray had recorded two years before her birth. On 13 August 1973, at the age of five, the young Céline made her first public appearance at her brother Michel's wedding, where she performed Christine Charbonneau's song "Du fil, des aiguilles et du coton". She continued to perform with her siblings in her parents' small piano bar called Le Vieux Baril, "The Old Barrel". From an early age, she had dreamed of being a performer. In a 1994 interview with People magazine, she recalled, "I missed my family and my home, but I don't regret having lost my adolescence. I had one dream: I wanted to be a singer." As a child in Quebec, Dion participated in Girl Guide programs as a member of Girl Guides of Canada. At age 12, she collaborated with her mother and her brother Jacques to write and compose her first song, "Ce n'était qu'un rêve", whose title translates as "It Was Only a Dream" or "Nothing But A Dream". Her brother Michel sent the recording to music manager René Angélil, whose name he discovered on the back of a Ginette Reno album. Angélil was moved to tears by Dion's voice and decided to make her a star. In 1981, he mortgaged his home to fund her first record, La voix du bon Dieu, which later became a local No. 1 hit and made her an instant star in Quebec. Her popularity spread to other parts of the world when she competed in the 1982 Yamaha World Popular Song Festival in Tokyo, Japan, and won the musician's award for "Top Performer" as well as the gold medal for "Best Song" with "Tellement j'ai d'amour pour toi". By 1983, in addition to becoming the first Canadian artist to receive a gold record in France for the single "D'amour ou d'amitié" ("Of Love or of Friendship"), Dion had also won several Félix Awards, including "Best Female performer" and "Discovery of the Year". Further success came when she represented Switzerland in the 1988 Eurovision Song Contest with the song "Ne partez pas sans moi" and won the contest by a close margin in Dublin, Ireland. At age 18, after seeing a Michael Jackson performance, Dion told Angélil that she wanted to be a star like Jackson. Though confident in her talent, Angélil realized that her image needed to be changed for her to be marketed worldwide. She receded from the spotlight for a number of months, during which she underwent dental surgery to improve her appearance, and was sent to the École Berlitz in 1989 to polish her English. In 1989, during a concert on the Incognito tournée, she injured her voice. She consulted the otorhinolaryngologist William Gould, who gave her an ultimatum: have immediate surgery on her vocal cords or do not utilize them at all for three weeks. Dion chose the latter and underwent vocal training with William Riley. 1990–1992: Unison, Dion chante Plamondon, and Celine Dion Two years after she learned English, Dion made her debut into the Anglophone market with Unison (1990), the lead single having originally been recorded by Laura Branigan. She incorporated the help of many established musicians, including Vito Luprano and Canadian producer David Foster. The album was largely influenced by 1980s soft rock music that quickly found a niche within the adult contemporary radio format. Unison also hit the right notes with critics: Jim Faber of Entertainment Weekly wrote that her vocals were "tastefully unadorned", and that she never attempted to "bring off styles that are beyond her". Stephen Thomas Erlewine of AllMusic declared it "a fine, sophisticated American debut". Singles from the album included "(If There Was) Any Other Way", "The Last to Know", "Unison", and "Where Does My Heart Beat Now", a mid-tempo soft-rock ballad that made prominent use of the electric guitar. The latter became her first top-ten hit on the US Billboard Hot 100, peaking at number four. In 1991, Dion was a featured soloist on "Voices That Care", a tribute to American troops fighting in Operation Desert Storm. Her real international breakthrough came when she duetted with Peabo Bryson on the title track to Disney's animated film Beauty and the Beast (1991). It became her first top-ten hit in the UK and her second top-ten hit in the United States. The song earned its songwriters an Academy Award for Best Song and gave Dion her first Grammy Award for Best Pop Performance by a Duo or Group with Vocal. "Beauty and the Beast" served as the lead single from her 1992 self-titled album, which, like her debut, had a strong pop rock influence combined with elements of soul and classical music. Owing to the success of the lead-off single and her collaborations with David Foster and Diane Warren, the album was even more well-received commercially than Unison; it was certified diamond in Canada and double platinum in the US. The album's second single "If You Asked Me To" (a cover of Patti LaBelle's song from the 1989 movie Licence to Kill) became her first number-one single in Canada and peaked at number four on the US Billboard Hot 100. Also during this time, Dion released the Francophone album Dion chante Plamondon. The album consisted mostly of covers, but featured four new songs: "Des mots qui sonnent", "Je danse dans ma tête", "Quelqu'un que j'aime, quelqu'un qui m'aime", and "L'amour existe encore". It was originally released in Canada and France during the 1991–1992 period, then later received an international release in 1994, the first French Celine Dion album to do so. "Un garçon pas comme les autres (Ziggy)" became a smash hit in France, reaching No. 2 and being certified gold. In Quebec, the album was certified Gold the day it was released. By 1992, Unison, Céline Dion, and numerous high-profile media appearances had propelled Dion to superstardom in North America. She had achieved one of her main objectives: wedging her way into the Anglophone market and achieving fame. However, while she was experiencing rising success in the US, her French fans in Canada criticized her for neglecting them. She would later rebuff these criticisms at the 1991 Félix Awards show, where, after winning "English Artist of the Year", she openly refused to accept the award. She asserted that she was—and would always be—a French, not an English, artist. Apart from her commercial success, there were also changes in her personal life, as Angélil, who was 26 years her senior, transitioned from manager to lover. However, the relationship was kept a secret as they both feared that the public would find their relations inappropriate. 1993–1995: The Colour of My Love and D'eux In 1993, Dion announced her feelings for her manager by declaring him "the colour of [her] love" in the dedication section of her third English-language album The Colour of My Love. However, instead of criticizing their relationship as she had feared, fans embraced the couple. Eventually, Angélil and Dion married in an extravagant wedding ceremony on 17 December 1994, which was broadcast live on Canadian television. As with most of her catalogue, The Colour of My Love had over-riding themes of love and romance. It became her most successful record up to that point, selling more than six million copies in the US, two million in Canada, and peaking at No. 1 in many countries. The album also spawned Dion's first US, Canadian, and Australian No. 1 single "The Power of Love" (a remake of Jennifer Rush's 1985 hit), which would become her signature hit in various nations until she reached new career heights in the late 1990s. The single "When I Fall in Love", a duet with Clive Griffin, achieved moderate success on the US and Canadian charts and was nominated for two Grammy Awards, winning one. The Colour of My Love also became Dion's first major hit in Europe, particularly in the United Kingdom. Both the album and the single "Think Twice" simultaneously occupied the top of the British charts for five consecutive weeks. "Think Twice", which remained at No. 1 for seven weeks, eventually became the fourth single by a female artist to sell in excess of one million copies in the UK while the album was eventually certified five-times platinum for two million copies sold. Dion kept to her French roots and continued to release many Francophone recordings between each English record. Generally, they achieved more credibility than her English-language works. She released À l'Olympia, a live album that was recorded during one of her concerts at the Paris Olympia in 1994. It had one promotional single, a live version of "Calling You", which peaked at seventy-five on the French Singles Chart. She also recorded a bilingual version of "Petit Papa Noël" with Alvin and the Chipmunks for the 1994 holiday album A Very Merry Chipmunk. D'eux (also known as The French Album in the United States), was released in 1995, and it would go on to become the best-selling French-language album of all time. The album was mostly written and produced by Jean-Jacques Goldman, and amassed huge success with the singles "Pour que tu m'aimes encore" and "Je sais pas". "Pour que tu m'aimes encore" reached No. 1 in France and stayed at the top position for twelve weeks. It was later certified Platinum in France. The single reached the top ten in the UK and Ireland, a rare accomplishment for a French song. The second single off the album, "Je sais pas", reached No. 1 on the French Singles Chart as well and was certified Silver there. During the mid-1990s and onward, Dion's albums were generally constructed on the basis of melodramatic soft rock ballads, with sprinklings of up-tempo pop and rare forays into other genres. She collaborated with many renowned writers and producers such as Jim Steinman and David Foster, who helped her to develop a signature sound. While critical reviews fluctuated, her releases performed increasingly well on the international charts, and in 1996, she won the World Music Award for "World's Best-selling Female Recording Artist of the Year" for the third time. By the mid-1990s, she had established herself as one of the best-selling artists in the world. 1996–1999: Falling into You, Let's Talk About Love, and S'il suffisait d'aimer In the five years since her debut English language album in 1990, Billboard stated that she had already sold 40 million albums worldwide. Falling into You (1996), Dion's fourth English-language album, presented the singer at the height of her popularity and showed a further progression of her music. In an attempt to reach a wider audience, the album combined many elements, such as complex orchestral sounds, African chanting, and elaborate musical effects. Additionally, instruments like the violin, Spanish guitar, trombone, the cavaquinho, and saxophone created a new sound. The singles encompassed a variety of musical styles. The title track "Falling into You" and "River Deep – Mountain High" (a Tina Turner cover) made prominent use of percussion instruments; "It's All Coming Back to Me Now" (produced by its writer Jim Steinman) and a remake of Eric Carmen's "All by Myself" maintained a soft-rock atmosphere, combined with the classical sound of the piano; and the No. 1 single "Because You Loved Me", which was written by Diane Warren, was a pop ballad that served as the theme to the 1996 film Up Close and Personal. Falling into You garnered career-best reviews for Dion. While Dan Leroy wrote that it was not very different from her previous work, and Stephen Holden of The New York Times and Natalie Nichols of the Los Angeles Times wrote that the album was formulaic, other critics, such as Chuck Eddy of Entertainment Weekly, Stephen Thomas Erlewine of AllMusic, and Daniel Durchholz, lavished the album as "compelling", "passionate", "stylish", "elegant", and "remarkably well-crafted". Falling into You became Dion's most critically and commercially successful album: it topped the charts in many countries and became one of the best-selling albums of all time. In 2013, CBC Music ranked Falling into You 33rd in their list of the 100 greatest Canadian albums ever. In the United States, the album reached No. 1, and was later certified 11× Platinum for over 11 million copies shipped. In Canada, the album was certified diamond for over one million copies shipped. The IFPI certified Falling into You 9× Platinum, an accolade that has been given to only two other albums in history, with one of the two being Dion's own album, Let's Talk About Love. The album also won Grammy Awards for Best Pop Album and the academy's highest honour, Album of the Year. Dion was asked to perform "The Power of the Dream" at the opening ceremony of the 1996 Atlanta Olympic Games. In March 1996, she launched the Falling into You Tour in support of her new album, performing concerts around the world for over a year. She followed Falling into You with Let's Talk About Love (1997), which was publicized as its sequel. The recording process took place in London, New York City, and Los Angeles, and featured a host of special guests, such as Barbra Streisand on "Tell Him"; the Bee Gees on "Immortality"; and tenor Luciano Pavarotti on "I Hate You Then I Love You". Other musicians included Carole King, Sir George Martin, Bryan Adams and Jamaican singer Diana King, who added a reggae tinge to "Treat Her Like a Lady". Let's Talk About Love was another major success, reaching No. 1 all over the world, attaining platinum status in twenty-four sales territories, and becoming the fastest selling album of her career. In the United States, the album topped the chart in its seventh week of release, and was later certified 10× Platinum in the US for over 10 million copies shipped. In Canada, the album sold 230,212 copies in its first week of release, which remains a record. It was eventually certified diamond in Canada for over one million copies shipped. The most successful single from the album was the classically influenced ballad "My Heart Will Go On", which was written and composed by James Horner and Will Jennings, and produced by Horner and Walter Afanasieff. Serving as the love theme for the 1997 blockbuster film Titanic, the song topped the charts across the world and became Dion's signature song. Horner and Jennings won the Academy Award and Golden Globe for Best Original Song, while Dion herself garnered two Grammy Awards for Best Female Pop Vocal Performance and the most coveted, Record of the Year, (the song itself won four awards, but two were presented to the songwriters). "My Heart Will Go On" and "Think Twice" made her the only female artist in the UK to have two singles to sell more than a million copies. In support of her album, she embarked on the Let's Talk About Love Tour between 1998 and 1999. Dion ended the 1990s with three more extremely successful albums: the Christmas album These Are Special Times (1998), the French-language album, S'il suffisait d'aimer, and the compilation album All the Way... A Decade of Song (1999). On These Are Special Times, she co-wrote the song "Don't Save It All for Christmas Day" along with Ric Wake and Peter Zizzo. The album was her most classically influenced yet, with orchestral arrangements found on virtually every track. The album featured the single "I'm Your Angel" (a duet with R. Kelly), which became her fourth US No. 1 single, and a smash hit across the world. The album's second single "The Prayer" (a duet with Andrea Bocelli) served as the soundtrack of the 1998 film Quest for Camelot and won a Golden Globe Award for Best Original Song. All the Way... A Decade of Song drew together her most successful hits coupled with seven new songs, including the lead-off single "That's the Way It Is", a cover of Roberta Flack's "The First Time Ever I Saw Your Face", and "All the Way", a duet with Frank Sinatra. All the Way became one of the best-selling compilation albums of all time, reaching No. 1 in the United States for three weeks. The album was later certified 7x Platinum in the US for 7 million copies shipped. It also topped the charts in the UK, Canada, and Australia. Her last French-language studio album of the 1990s, S'il suffisait d'aimer, was very successful as well, topping the charts in every major French-speaking country, including France, Switzerland, the Wallonia region of Belgium, and Canada. In France, the album was certified diamond, selling 1.5 million copies. By the end of the 1990s, Dion had sold more than 130 million records worldwide, and had won a slew of industry awards. Her status as one of the music industry's biggest pop divas was further solidified when she was asked to perform on VH1's Divas Live special in 1998, with superstars Aretha Franklin, Gloria Estefan, Shania Twain, and Mariah Carey. That year, she also received two of the highest Canadian honours: "Officer of the Order of Canada for Outstanding Contribution to the World of Contemporary Music" and "Officer of the National Order of Quebec". A year later, she was inducted into the Canadian Broadcast Hall of Fame, and was honoured with a star on Canada's Walk of Fame. Starting from the mid-1990s, the pop rock influence that was more noticeable in her earlier releases was replaced by a more mature feel. Additionally, the recurring theme of "love" dominated most of her releases, which led to some critics dismissing her music as banal. Other critics, like Elysa Gardner and Jose F. Promis, praised her voice during this period, describing it as a "technical marvel". Steve Dollar, in his review of These Are Special Times, opined that Dion was a "vocal Olympian for whom there ain't no mountain—or scale—high enough". 2000–2003: Hiatus, A New Day Has Come, One Heart, and 1 fille & 4 types After releasing and promoting thirteen albums during the 1990s, Dion stated that she needed to settle down, and announced on her latest album All the Way... A Decade of Song, that she needed to take a step back from the spotlight and enjoy life. Angélil's diagnosis with esophageal cancer also prompted her to hiatus. While on break, she was unable to escape the spotlight. In 2000, the National Enquirer published a false story about the singer. Brandishing a picture of Dion and her husband, the magazine misquoted her, printing the headline, "Celine — 'I'm Pregnant With Twins!'" She later sued the magazine for more than $20million. The editors of the Enquirer printed an apology and a full retraction to her in the next issue, and donated money to the American Cancer Society in honour of her and her husband. A year after the incident, after undergoing fertility treatments, she gave birth to a son, René-Charles Dion Angélil, on 25 January 2001, in Florida. Following the 11 September attacks, Dion returned to the music scene, and in a televised performance sang "God Bless America" at the benefit concert America: A Tribute to Heroes. Chuck Taylor of Billboard wrote, "the performance ... brings to mind what has made her one of the celebrated vocalists of our time: the ability to render emotion that shakes the soul. Affecting, meaningful, and filled with grace, this is a musical reflection to share with all of us still searching for ways to cope." She performed it again in 2003 during pregame festivities for Super Bowl XXXVII in San Diego. In December 2001, she published her autobiography My Story, My Dream which chronicled her rags-to-riches story. Dion ended her three-year sabbatical from the music industry with the aptly titled album A New Day Has Come, released in March 2002. The album was her most personal yet, with songs focusing on her motherhood and maturation as a woman such as "A New Day Has Come", and "Goodbye's (The Saddest Word)". She stated: "becoming a mother makes you a grown-up." She stated, "A New Day Has Come, for Rene, for me, is the baby. It has everything to do with the baby ... That song "A New Day Has Come" represents very well the mood I'm feeling right now. It represents the whole album." A New Day Has Come debuted at No. 1 in more than 17 countries, including the United Kingdom and Canada. In the United States, the album debuted at No. 1 on the Billboard 200, with first-week sales of 527,000 copies; marking her first No. 1 debut on the chart, as well as the highest debut sales week of her career in the US. It was eventually certified 3× Platinum in the United States, and 6× Platinum in Canada. While the album was commercially successful, critical reviews suggested that it was "forgettable" and the lyrics were "lifeless". Both Rob Sheffield of Rolling Stone magazine, and Ken Tucker of Entertainment Weekly, stated that Dion's music had not developed much during her break, and classed her material as trite and mediocre. Sal Cinquemani of Slant Magazine called the album "a lengthy collection of drippy, gooey pop fluffer-nutter". The first single off the album, A New Day Has Come peaked at No.22 on the Billboard Hot 100 charts, being an airplay-only release. On the Hot Adult Contemporary Tracks, however, the song spent 21 consecutive weeks at No. 1, breaking the record for the longest span at the top. The previous record holders were Phil Collins' You'll Be in My Heart and Dion's own Because You Loved Me, both of which lasted nineteen weeks at No. 1. The album's next single, "I'm Alive", was featured on the soundtrack for Stuart Little 2 (2002), and was ranked number 2 on the European Hot 100 Singles, and number 6 on the Hot Adult Contemporary Tracks in the United States. During 2002, she performed for many benefit concerts, including her second appearance on VH1 Divas Live, a concert to benefit the VH1 Save The Music Foundation, alongside Cher, Anastacia, Dixie Chicks, Mary J. Blige, Whitney Houston, Cyndi Lauper, Shakira, and Stevie Nicks. In conjunction with an endorsement deal with Chrysler, she released One Heart (2003), an album that represented her appreciation for life. The album largely consisted of pop and dance music—a deviation from the soaring, melodramatic ballads, for which she had been known. Although the album achieved moderate success, One Heart was met with mixed criticism, and words such as "predictable" and "banal" appeared even in the most lenient reviews. A cover of the 1989 Cyndi Lauper hit "I Drove All Night", released to launch her advertising campaign with Chrysler, incorporated elements of dance-pop and rock and roll. The advertising deal was met with criticism, with some stating that Dion was trying to cater to her sponsors. After One Heart, she released her next English-language studio album, Miracle (2004). Miracle was a multimedia project conceived by Dion and Australian photographer Anne Geddes and had a theme centring on babies and motherhood. The album was filled with lullabies and other songs of maternal love and inspiration, including covers of Louis Armstrong's "What a Wonderful World" and John Lennon's "Beautiful Boy". The reviews for Miracle were mixed. Stephen Thomas Erlewine of Allmusic.com gave the album three of out five stars, stating, "The worst you can say about the record is that there are no surprises, but the audience for this record doesn't want surprises; they want comfort, whether it arrives in polished music or artsy photos of newborns, and Miracle provides both, which makes it appealing for those expectant or new mothers in Dion's audience." Chuck Taylor of Billboard magazine wrote that the single "Beautiful Boy" was "an unexpected gem" and called Dion "a timeless, enormously versatile artist", Chuck Arnold of People Magazine, however, labelled the album as excessively sentimental, while Nancy Miller of Entertainment Weekly opined that "the whole earth-mama act is just opportunism, reborn". Miracle debuted at No. 4 on the Billboard 200 chart and No. 1 in Canada and was eventually certified platinum by the RIAA. The francophone album 1 fille & 4 types (1 Girl & 4 Guys), released in October 2003, fared better than her previous two releases and showed her trying to distance herself from the "diva" image. She recruited Jean-Jacques Goldman, Gildas Arzel, Eric Benzi, and Jacques Veneruso, with whom she had previously worked on two of her best-selling French albums S'il suffisait d'aimer and D'eux. Labeled "the album of pleasure" by Dion herself, the album cover showed her in a simple and relaxed manner, contrary to the choreographed poses usually found on her album covers. The album achieved widespread commercial success in France, Canada, and Belgium where it reached No. 1. In France, the album debuted at No. 1 and was later certified 2× platinum after selling over 700,000 copies. Critic Stephen Erlewine of AllMusic wrote that Dion's vocals were "back at top of their game" and that she was "getting back to pop basics and performing at a level unheard in a while". Though her albums were commercially successful, they did not achieve the sales or the reception of her previous works. Her songs received less airplay as radio became less embracing of balladeers like Dion, Carey, and Houston, and was focused on more up-tempo, Urban/Hip-hop songs. By 2004, Dion had accumulated sales of more than 175 million albums worldwide and received the Chopard Diamond Award from the World Music Awards for her achievements. According to the official World Music Awards website, the award is rare; it is "not presented every year" and an artist can be presented with the award only for selling "over 100 million albums during their career". 2003–2007: A New Day... In early 2002, Dion announced a three-year, 600-show contract to appear five nights a week in an entertainment extravaganza, A New Day..., at The Colosseum at Caesars Palace, Las Vegas. This move was generally seen as risky, but journalist Miriam Nunzio wrote that it was "one of the smartest business decisions in years by any major recording artist". Dion conceived the show after seeing O by Franco Dragone during her break from recording, and it premiered on 25 March 2003, in a 4,000-seat arena specifically designed for her show and modelled after the Roman Colosseum. Many stars attended the opening night including Dick Clark, Alan Thicke, Kathy Griffin, Lance Bass, and Justin Timberlake, who hosted the television special. The show, directed by Dragone and choreographed by the renowned Mia Michaels, was a combination of dance, music, and visual effects. It included Dion performing her biggest hits against an array of dancers and special effects. Reviewer Mike Weatherford felt that, at first, Dion was not as relaxed as she should be, and at times, it was hard to find the singer among the excessive stage ornamentation and dancers. However, he noted that the show had become more enjoyable over the course of its run, because of her improved stage-presence and simplified costumes. The show was well-received by audiences, despite the complaints of expensive tickets; it routinely sold out until its end in late 2007. Ticket prices averaged $135.33. According to Pollstar, Dion sold 322,000 tickets and grossed US$43.9 million in the first half of 2005, and by July 2005, she had sold out 315 out of 384 shows. By the end of 2005, she grossed more than US$76 million, placing sixth on Billboard's Money Makers list for 2005. Because of the show's success, her contract was extended into 2007 for an undisclosed sum. On 5 January 2007, it was announced that the show would end on 15 December 2007, with tickets for the period after October 2007 having gone on sale from 1 March. According to Billboard, A New Day... is the most successful residency of all time, grossing over US$385 million ($ million in dollars) and drawing nearly three million people to 717 shows. The Live in Las Vegas: A New Day... DVD was released on 10 December 2007, in Europe and the following day in North America. 2007–2010: D'elles, Taking Chances, and Taking Chances Tour On 21 May 2007, Dion released the French-language album D'elles (About Them), which debuted at the top of the Canadian album charts, selling 72,200 copies in its first week. It marked her tenth No. 1 album in the SoundScan era, and her eighth to debut at the top position. In Canada, the album has been certified 2× platinum, and within the first month had already shipped half a million units worldwide. D'Elles also reached No. 1 in France and Belgium. The first single "Et s'il n'en restait qu'une (je serais celle-là)" (meaning "And If There Was Only One Woman Left (I Would Be That One)") debuted at the top of the French singles chart a month earlier. Later that same year, she released the English album Taking Chances on 12 November in Europe, and 13 November in North America. Her first English studio album since 2003's One Heart, it featured pop, R&B, and rock inspired music. For this album, she collaborated with John Shanks and ex-Evanescence guitarist Ben Moody, as well as Kristian Lundin, Peer Åström, Linda Perry, Japanese singer Yuna Ito, and R&B singer-songwriter Ne-Yo. Dion stated, "I think this album represents a positive evolution in my career ... I'm feeling strong, maybe a little gutsier than in the past, and just as passionate about music and life as I ever was." She launched her year-long worldwide Taking Chances Tour on 14 February 2008, in South Africa, performing 132 dates in stadiums and arenas across five continents. The Taking Chances Tour was a great success in the United States, reaching the No. 1 spot on the Billboard Boxscore, having sold out every concert in the US and Canada. In addition, she appeared on Idol Gives Back for a second year in a row. Dion was nominated for six Juno Awards in 2008, adding to her 53 previous nominations (an all-time record). Her nominations included Artist of the Year, Pop Album of the Year (for Taking Chances), Francophone Album of the Year (for D'elles) and Album of the Year (for both Taking Chances and D'elles). The following year, she was nominated for 3 Juno Awards including the Fan Choice Award, Song of the Year (for Taking Chances), and Music DVD of the Year (for Live in Las Vegas — A New Day...) On 22 August 2008, Dion presented a free outdoor concert, mostly in French, on the Plains of Abraham, in Québec City, Canada, for the 400th anniversary of Québec City. The celebration gathered approximately 490,000 people. The concert, called Céline sur les Plaines, was released on DVD on 11 November 2008, in Québec and was released on 20 May 2009, in France. Late October 2008 saw the worldwide release of a comprehensive English-language greatest hits album, My Love: Essential Collection. In May 2009, Dion was named the 20th best-selling artist of the decade and the second-best-selling female artist of the decade in the United States, selling an estimated 17.57 million copies of her albums there since 2000. In June 2009, Forbes reported that she earned $100 million during 2008. In December 2009, Pollstar announced that she was the best-selling solo touring act of the decade and the second-best-selling touring act of the decade, behind only the Dave Matthews Band. she grossed $522.2 million during the decade, a large portion of that sum coming from her five-year residency at Caesars Palace. On 17 February 2010, Dion released into theatres a documentary film about her Taking Chances Tour, titled, Celine: Through the Eyes of the World. The documentary shows behind-the-scenes footage of her both onstage and offstage, along with footage of her with her family as they travelled the world with her. The distributor is the Sony Pictures subsidiary, Hot Ticket. The film was later released on Blu-ray and DVD on 4 May 2010, along with the CD/DVD, Taking Chances World Tour: The Concert. At the 52nd Grammy Awards in February 2010, Dion joined Carrie Underwood, Usher, Jennifer Hudson, and Smokey Robinson to perform the song "Earth Song" during the 3-D Michael Jackson tribute. In January 2010, The Los Angeles Times presented its annual list of the top ten largest earners of the year, revealing that Dion took the top spot for the entire decade, with $US747.9 million in total revenue from 2000–2009. The largest haul came from ticket sales, totalling $522.2 million. Additionally, she was named "Artist of the Decade" in her native Canadian province of Québec, announced by the Montréal-based newspaper, Le Journal de Québec in 2009 December. A public online survey asked responders to vote for whom they believe deserved the above-mentioned accolade. Furthermore, in a May 2010 Harris Poll, Dion was named the most popular musician in the United States, ahead of U2, Elvis Presley, and The Beatles while factoring in gender, political affiliations, geographic region of residence, and income. Specifically, she was the most popular musician in the female demographic, as well as among all Democrats, those who live in the eastern United States and southern United States, and those who have incomes between US$35k and US$74.9k. In September 2010, she released the single "Voler", a duet with French singer Michel Sardou. The song was later included on Sardou's album. In addition, it was announced in October 2010 that Dion wrote and composed a new song for Canadian singer, Marc Dupré entitled "Entre deux mondes". 2011–2014: Celine, Sans attendre, and Loved Me Back to Life In an interview with People magazine published in February 2010, Dion announced that she would be returning to Caesars Palace in Las Vegas for Celine, a three-year residency for seventy shows a year, beginning 15 March 2011. She stated that the show will feature, "all the songs from my repertoire that people want to hear" and will contain a selection of music from classic Hollywood films. To promote her return to Las Vegas, Dion made an appearance on The Oprah Winfrey Show on 21 February, during the show's final season, marking her record twenty-seventh appearance. In 2018, Billboard stated her residency Celine is the second most successful residency of all time. By the end of 2011, Dion has sold 331,000 albums (despite not releasing any studio album since 2007) and 956,000 digital tracks in the United States. For a record sixth time, she performed at the 83rd Academy Awards, where she sang the song "Smile", as part of the ceremony's "In Memoriam" segment. On 4 September, she appeared on the 2011 MDA Labor Telethon Event and presented a prerecorded performance of "Open Arms" from her new Las Vegas show. On 1 October 2011, the OWN Network premiered a documentary on Dion's life, detailing the months before, during and after her pregnancy, to the makings of her new Las Vegas Show, called, "Celine: 3 Boys and a New Show". The documentary became the second highest rated show on TV OWN Canada. In October, FlightNetwork.com conducted a poll asking 780 participants which celebrity they would most like to sit next to on an airplane. Dion was the top favourite, with 23.7% of the vote. Also, in September, she released the 14th perfume from her Celine Dion Parfums Collection, called "Signature". On 15 September, she made an appearance at the free concert of world-famous tenor, Andrea Bocelli, in Central Park in New York. In 2012, she performed at the 16th Jazz and Blues Festival in Jamaica. In October 2012, Sony Music Entertainment released The Best of Celine Dion & David Foster in Asia. She began recording songs for her next English and French albums during April and May 2012. The French-language album, Sans attendre was released on 2 November 2012, and was a smash success in all French-speaking territories, especially in France where it achieved diamond status. The English-language album was postponed to 1 November 2013. Titled Loved Me Back to Life, it included collaborations with an exceptional team of songwriters and producers, including duets with Ne-Yo and Stevie Wonder. The lead single, "Loved Me Back to Life" was released on 3 September 2013. Dion embarked on the Sans attendre Tour in November 2013 and performed in Belgium and France. "Breakaway", "Incredible" and "Water and a Flame" were chosen as next singles. In June 2013, Dion co-produced the show titled "Voices" by Véronic DiCaire at the Bally’s Hotel & Casino’s Jubilee Theatre and was presented 145 times up until 2015. On 16 May 2014, Dion released a three-disc set (2CD/DVD and 2CD/Blu-ray) titled Céline une seule fois / Live 2013, which reached top ten on the album charts in France, Canada and Belgium Wallonia. 2014–present: Husband's death, Encore un soir, Courage, and return to Vegas On 13 August 2014, Dion announced the indefinite postponement of all her show business activities, including her concert residency at Caesars Palace in Las Vegas, and the cancellation of her Asia Tour, because of the worsening of her husband's health after he underwent the removal of a cancerous tumor in December 2013. However, on 20 March 2015, she announced that she would be returning to The Colosseum at Caesars Palace in late August 2015. On 14 January 2016, she cancelled the rest of the January performances due to her husband's and her brother's death from cancer. Dion resumed the residency on 23 February to a sold-out crowd and rave reviews. In October 2015, Dion announced on social media that she had begun working on a new French album, posting a photo by the side of Algerian singer Zaho. Dion's French single, "Encore un soir", was released on 24 May 2016. On 20 May, she released a cover of Queen's song "The Show Must Go On", featuring Lindsey Stirling on violin. She performed "The Show Must Go On" at the 2016 Billboard Music Awards on 22 May, and received the Billboard Icon Award (presented to her by her son, René-Charles Angélil) in recognition of her career spanning over three decades. The singer's new French album, Encore un soir, was released on 26 August 2016. It features fifteen tracks performed in French and, according to the singer, has a personal choice of the songs – more uplifting lyrics were chosen. Encore un soir topped the charts in France, Canada, Belgium and Switzerland, and was certified Diamond in France, 2× Platinum in Canada and Platinum in Belgium and Switzerland. It has sold over 1.5 million copies worldwide. In 2016 and 2017, Dion toured Europe and Canada with two sold-out concert tours. On 9 September 2016, she released "Recovering", a song written for her by Pink after Dion's husband René Angélil died in January 2016. Dion also recorded "How Does a Moment Last Forever" for the Beauty and the Beast: Original Motion Picture Soundtrack, released in March 2017. Her compilation, Un peu de nous topped the chart in France in July and August 2017. On 3 May 2018, she released the single "Ashes" from the film Deadpool 2. The remix version of the song topped the US Dance Club Songs chart in July 2018. From June to August 2018, she toured the Asia-Pacific region and grossed $56.5 million from 22 shows. On 24 September 2018, she announced the end of her Las Vegas residency Celine, with the final date set for 8 June 2019. She is working on a new English album. In January 2019, she performed "A Change Is Gonna Come" at the "Aretha! A Grammy Celebration for the Queen of Soul" Franklin's tribute concert, to be broadcast in March 2019. In March 2019, she was one of 11 singers from Quebec, alongside Ginette Reno, Diane Dufresne, Isabelle Boulay, Luce Dufault, Louise Forestier, Laurence Jalbert, Catherine Major, Ariane Moffatt, Marie Denise Pelletier, and Marie-Élaine Thibert, who participated in a supergroup recording of Renée Claude's 1971 single "Tu trouveras la paix" after Claude's diagnosis with Alzheimer's disease was announced. On 3 April 2019, during a Facebook Live event, Dion announced her 2019/2020 Courage World Tour, beginning in Quebec City on 18 September 2019. She also announced a new English language album of the same name, released in November 2019. On 18 September 2019, Dion released three songs, "Lying Down", "Courage", and "Imperfections" from her upcoming album, Courage. On 26 February 2020, Dion released two songs as exclusive Spotify singles: an acoustic version of Imperfections, and a cover of Chris Isaak's Wicked Game. Isaak joined Dion and sang vocals on the track. On 10 June 2020, Dion announced that her Courage World Tour will kick off again in 2021, after the tour was postponed due to the COVID-19 pandemic. On 21 May 2021, it was announced Dion would return to Vegas, in November of the same year, for a limited-run installment of ten dates in collaboration with Resorts World Las Vegas. Billboard listed Dion as the third top paid musician of 2020 (second by female artist), with total of earnings of $17.5 million. On 15 January 2022, a statement posted to Dion's website and social media accounts announced that the U.S. and Canadian concert dates for March-April 2022 were canceled because of “severe and persistent muscle spasms” that are preventing Dion from performing onstage. Artistry Influences Dion cites idols as varied as Michael Jackson, Aretha Franklin, Charles Aznavour, Carole King, Anne Murray, Barbra Streisand, and the Bee Gees, all of whom she would eventually collaborate with. Her music has been influenced by numerous genres, including pop, rock, gospel, R&B, and soul, and her lyrics focus on themes of poverty, world hunger, and spirituality, with an emphasis on love and romance. After the birth of her first child, her work increasingly focused on maternal love. Musical style Dion has faced considerable criticism from critics, who state that her music often retreats behind pop and soul conventions, and is marked by excessive sentimentality. According to Keith Harris of Rolling Stone magazine, "[Dion's] sentimentality is bombastic and defiant rather than demure and retiring ... [she] stands at the end of the chain of drastic devolution that goes Aretha–Whitney–Mariah. Far from being an aberration, Dion actually stands as a symbol of a certain kind of pop sensibility—bigger is better, too much is never enough, and the riper the emotion the more true." Her francophone releases, by contrast, tend to be deeper and more varied than her English releases, and consequently have achieved more credibility. Critics have stated that Dion's involvement in the production aspect of her music is fundamentally lacking, which results in her work being overproduced and impersonal. However, coming from a family in which all of her siblings were musicians, she dabbled in learning how to play instruments like piano and guitar, and practised with a Fender Stratocaster during the recording sessions for her album Falling into You. Occasionally, Dion has contributed to the writing of a handful of her English and French songs, as well as writing a few songs for other artists such as Marc Dupre. Additionally, as her career progressed, she found herself taking charge in the production of her albums. On her first English album, which she recorded before she had a firm command of the English language, she expressed disapproval, which could have been avoided if she had assumed more creative input. By the time she released her second English album Celine Dion, she had assumed more control of the production and recording process, hoping to dispel earlier criticisms. She stated, "On the second album I said, 'Well, I have the choice to be afraid one more time and not be 100% happy, or not be afraid and be part of this album.' This is my album." Besides her contributions to some of her early French albums, Dion wrote a few of the songs on Let's Talk About Love (1997) and These Are Special Times (1998). She is often the subject of media ridicule and parody and is frequently impersonated on shows such as MADtv, Saturday Night Live, South Park, Royal Canadian Air Farce, and This Hour Has 22 Minutes for her strong accent and onstage gesticulations. However, she has stated that she is unaffected by the comments, and is flattered that people take the time to impersonate her. She even invited Ana Gasteyer, who parodied her on SNL, to appear onstage during one of her performances in New York City. While she is rarely politically outspoken, in 2005 following the Hurricane Katrina disaster, Dion appeared on Larry King Live and tearfully criticized the US government's slow response in aiding the victims of the hurricane: "There's people still there waiting to be rescued. To me that is not acceptable ... How can it be so easy to send planes in another country to kill everybody in a second and destroy lives. We need to serve our country." After her interview, she stated, "When I do interviews with Larry King or the big TV shows like that, they put you on the spot, which is very difficult. I do have an opinion, but I'm a singer. I'm not a politician." Voice and timbre Dion once claimed to be a mezzo-soprano. However, attempts to adapt classical voice types to other forms of singing have been met with controversy. Without making a classification, Kent Nagano, maestro of the Munich Symphony Orchestra, remarked, "All you just sang was full lyric soprano", after Dion auditioned with two solos from Carmen, wanting to know if she could sing opera. Her timbre has been described as "thin, slightly nasal" with a "raspy" lower register and "bell glass-like high notes". According to Linda Lister in Divafication: The Deification of Modern Female Pop Stars, she has been described as a reigning "Queen of Pop" for her influence over the recording industry during the 1990s, alongside other female artists, including Whitney Houston and Mariah Carey. In a countdown of the "22 Greatest Voices in Music" by Blender Magazine and MTV, she placed ninth (sixth for a female), and she was also placed fourth in Cover Magazine's list of "The 100 Outstanding Pop Vocalists". Dion is often compared to Houston and Carey for her vocal style, and to her idol Barbra Streisand for her voice. She is often praised for her technical virtuosity. Jim Santella of The Buffalo News writes "Like an iron fist in a velvet glove, the power of Celine Dion's voice is cloaked in a silky vibrato that betrays the intensity of her vocal commitment." Jeff Miers, also of The Buffalo News, says of Dion "Her singing voice is absolutely extra-human. She hits notes in full voice, with a controlled vibrato and an incredible conception of pitch, like she's shucking an ear of corn." Stephen Holden of The New York Times states that Dion has "a good-sized arsenal of technical skills. She can deliver tricky melismas, produce expressive vocal catches and sustain long notes without the tiniest wavering of pitch. And as her duets ... have shown, she is a reliable harmony voice." In an interview with Libération, Jean-Jacques Goldman notes that she has "no problem of accuracy or tempo". According to Kent Nagano, she is "a musician who has a good ear, a refinement, and a degree of perfection that is enviable". Charles Alexander of Time states, "[Her] voice glides effortlessly from deep whispers to dead-on high notes, a sweet siren that combines force with grace." In her French repertoire, Dion adorns her vocals with more nuances and expressiveness, with the emotional intensity being "more tender and intimate". Additionally, Luc Plamondon, a French singer-songwriter who has worked closely with Dion claims that there are three chanteuses (stylistically) that she uses: the Québécois, the French, and the American. Her self-titled 1992 album was promoted with the slogan "Remember the name because you'll never forget the voice." Legacy Dion is regarded as one of pop music's most influential vocalists. She has been referred to as the "Queen of Power Ballads" by the media.. Billboard called Dion the "Queen of Pop". Her music and vocal styling, alongside that of Whitney Houston and Mariah Carey, have been said to shape how the bulk of modern female pop vocalists sing. These three artists have been widely credited with reviving the power ballad, and in doing so reshaping the adult contemporary radio format, making it one of the most popular formats of the 1990s and early 2000s. In 2002, Billboard named her as the "Best-selling contemporary female artist in history". According to producer, musician, and former American Idol judge Randy Jackson, Dion, Houston, and Carey are the voices of the modern era. Music critic and Dion biographer Carl Wilson notes that her "fame and influence is also renewed and expressed regularly these days by American Idol, the largest mass musical phenomenon of the past decade, where Celine's stood solidly in its pantheon of singers for young people to emulate". Many contestants on the countless televised talent competitions that have risen at the turn of the millennium often emulate Dion, Houston and Carey and cite them as idols. MTV also praised Dion by saying: "Céline Dion was better than almost anyone at capitalizing on pop’s ability to articulate feelings in sensational, over-the-top ways." Numerous artists have either mentioned Dion as a major influence or as one of their favourite singers including: Britney Spears, Rihanna, Adele, Josh Groban, Delta Goodrem, Leona Lewis, Jennifer Hudson, Vanessa Hudgens, Kelly Clarkson, Perrie Edwards, Loren Allred, Brazilian singer Wanessa Camargo, Ariana Grande, Sam Smith, Frank Ocean, Ava Max, Charlotte Cardin, and V (from BTS) among many others. Country singer Martina McBride is widely heralded by the press as the Celine Dion of Country music. Many artists have also praised Dion's voice, singing ability or expressed an interest in working with her including Met Opera conductor and musical director Yannick Nézet-Séguin, Beyoncé, Carlos Santana, Elton John, OneRepublic, Coldplay, Sharon Osbourne, Nicole Scherzinger, Ne-Yo, Carole King, Barbra Streisand, Luciano Pavarotti, Bee Gees, Sir George Martin, Justin Bieber, Jean-Jacques Goldman, Drake and Cher. Timbaland stated "Celine has such a beautiful, mesmerizing voice. She is so talented. I think we could create something that is a classic like she is already." Josh Groban remarked "She's a powerhouse. In this day and age, when more and more studio-produced, tiny-tiny voices are being rewarded ... she has this extraordinary instrument." According to Diane Warren, "Celine is the best singer by far of her generation", an opinion shared by Quincy Jones, Tommy Mottola, and David Foster. Moreover, Shania Twain and Jennifer Lopez have praised her dynamic stage presence, with Jennifer Lopez commenting on American Idol: "Celine gets on stage, she owns the stage, she runs all over that stage, she stops that stage." Leona Lewis is also a huge fan of Céline Dion saying "Celine is someone I aspire to be like in every way. "Gosh – I can't wait. I'm in the middle of picking out dresses at the moment. Celine is definitely one of my heroes. She is amazing." American singer and actress Lea Michelle said that she listened to Céline Dion's music while in the process of making her sophomore album 'Places' and cited her as one of her vocal influences. Godmother of Soul Patti LaBelle called Dion as one of the greatest singers ever. Pop singer Kelly Clarkson also praised Dion's vocal ability saying: "she has two sets of lungs when she sings." and also called her the most gifted vocalist on the planet. Dion holds the Guiness World Record for the most Juno Awards won for Album Of The Year (tied with Michael Buble & Arcade Fire). She won 3 out of the 13 nominations she received in the category throughout her career. Dion is the 3rd most decorated artist in Juno Awards history, winning 20 out of the 75 total nominations ever, becoming the most nominated artist in the awards history as well. In 1997-1998, Dion sold more than 60 million albums, and was estimated to sell a record once every 1.2 seconds. In 2017, Dion broke records across the UK as the highest grossing artist at each UK venue where she performed which included dates at the O2 Arena in London, Leeds First Direct Arena, Birmingham’s Barclaycard Arena and the SSE Hydro in Glasgow. John Meglen, president and co-CEO, Concerts West commended her by saying: "She really is the voice of our lifetime." In 2018, there were over 300,000 Taiwanese fans that clambered for the 20,000 tickets available for Célines first concert ever in Taiwan which caused the system to lag for 30 minutes. The demand caused them to add two additional shows eventually. Cultural impact In Francophone music industry On a cultural level, Dion is credited for introducing francophone music to many non-francophone countries around the globe. Her albums D'eux and S'il suffisait d'aimer remain the best selling francophone albums in history, gaining unprecedented success in non-Francophone markets such as the United Kingdom, Poland, Netherlands, Portugal, Greece, Austria, Japan, and New Zealand. According to RFI Musique, she "has done her bit for French music over the years, assuring the success of French songs which would probably never have got beyond Francophone borders without her ... Without Celine, French record sales would be dramatically lower!" In May 2008, she was awarded France's highest award, as Knight of the Legion of Honour by President of France Nicolas Sarkozy. Sarkozy praised Dion and stated: "France thanks you because your talent and success have contributed to the influence of the French language outside our borders". In Las Vegas strip She is also credited for both revitalizing and revolutionizing the entertainment scene in Las Vegas with the gargantuan successes of her residencies there. She signed a multi-million dollar deal worthed $100 million to do a residency in Vegas and is considered one of the most lucrative and risky in the touring industry. Billboard credits Dion as the one who pioneered modern residencies saying: "Since Dion's debut, hundreds of artists have tried their hand at Vegas residencies, including, most recently, Lady Gaga, Bruno Mars, Usher, Luke Bryan, Katy Perry, Rod Stewart and Sting. Once considered the domain of artists long past their peak, today's Las Vegas residency shows are big business, generating millions in sales." Moreover, Billboard also said: "She changed history and she completely changed Las Vegas," said Nelson, who notes the new residencies being announced for artists like Cardi B, Christina Aguilera and Jennifer Lopez aren't really at the same production level or scale of what Dion created with her husband René Angélil, as well as Meglen, Nelson and former AEG CEO Tim Leiweke." Dion is popularly referred as the reigning "Queen of Las Vegas" by various media outlets for her impact and legacy in the city. According to Gary Bongiovanni, president and editor-in-chief of Pollstar, "Celine redefined what artists can do in Las Vegas, helping to make it arguably the busiest entertainment city in the world." Kurt Melien, vice-president of entertainment at Caesar's Palace stated "Celine was a pioneer without question ... Twenty years ago, we couldn't have got someone the stature of Britney Spears to appear in Vegas. Stars likes her would never have considered it if Celine hadn't paved the way. She changed the face of modern Vegas." The Guardian listed Dion's Vegas residency as one of the 50 gigs that changed music, crediting her as the one who revived it, further saying: "it was Céline Dion who turned Caesars into the stage for a glorious pop comeback. Her initial five-year run was followed by a further eight years – and prompted copycat turns by Britney Spears, Pink and Katy Perry. In the economy Regarding her financial impact on Las Vegas, Stephen Brown, director of the Centre for Business and Economic Research in Las Vegas, commented: "People will come to the city just for her and they will spend money and as a consequence, she has an outsized impact on the economy", then adding "Bigger than Elvis, Sinatra and Liberace put together? Definitely." Estimations indicate that Dion's show will create up to 7,000 indirect jobs and around $114 million worth of new economic activity in each of the three years for which she has been contracted. In businesses Forbes also discussed how entrepreneurs can reclaim the power in their business by being like Céline Dion as an example saying: "Well, remember back in 2017 when Dion launched her handbag line? During a press conference, she admitted her late manager (and husband) had always handled everything for her. Every aspect of her shows was pre-decided; every move, appearance and interview was programmed in advance. She just showed up and executed (which she did brilliantly). At the end of her handbag launch press release, she said "Now . . . I'm the boss.” Starting right then and there, she’d be the one calling the shots for her shows, her kids, her handbags and everything else that mattered to her. She was going to do things her way." In Fashion Celine Dion has received various acclaims from fashion critics for reinventing her fashion style over the years. The Guardian called her "The Joyous New Queen of Fashion". Harper's Bazaar also praised Dion for being an ultimate fashion risk-taker and called her a "Fashion Chameleon". Billboard dubbed her as "Streetwear Icon" after recapping the global icon's style evolution through the years. Vogue named her as one of music's most exuberant dressers, beloved as much for her glorious voice as her extravagant sense of style. Tatler discussed in an article how Cardi B might be the next Céline Dion of Paris Fashion Week, proving that Céline is the standard for the occasion. Fashion stylist and image architect Law Roach praised Celine Dion, calling her "The Queen of Camp" & "The Queen of Glitter & Sequins". Dion further cemented her name in the fashion world by wearing the reverse tuxedo at 1999 Academy Awards, which became one of the most talked ensembles of that time. Vogue also listed her iconic 1999 reverse tuxedo as one of the most controversial looks of all time saying it was undeniably the highlight of the year. W also listed the iconic ensemble as one of the most memorable dresses of all time. In February 2020, Sergio Guadarrama, a contestant of Project Runway, copied the idea of reverse tuxedo and claimed it was his original idea and had even claimed that he had no idea about the iconic tuxedo, which left the fans of the show disappointed. Breaking music barriers Vice discussed how Dion's music made impact in Nigerian culture, saying: "By the 2000s, Celine Dion was basically the queen of Nigerian airwaves. It was impossible to watch TV or listen to the radio without hearing her music – either on adverts, or in Nollywood films featuring heartthrobs like Genevieve Nnaji and Ramsey Nouah." Billboard also discussed how Dion’s appearance at Jamaica Jazz & Blues changed the festival’s future. According to Walter Elmore, CEO of Art of Music Productions said Dion is by far the most expensive artist he has ever booked, further saying: “I have already received calls from the management of several major US artists who want to perform here next year because they heard Celine’s comments about our show’s production quality,” Elmore said. “Her performance confirms that we can bring the biggest artists on the planet to our little island.” In 2012, Dion visited Jamaica for the very first time which broke attendance records and caused traffic congestion around the concert venue. Vice discussed how Dion's music has been constant in dancehall clubs for decades, as many Jamaican dancehall artists cover her songs and remixing her ballads into anthems of dance hall. Further adding: "Several current dancehall musicians continue to use utilize Dion’s tunes with the addition of upbeat guitars, pan flutes, and backbeat shuffles that transform the music for consumption by dancehall fans." Being referenced in songs The Canadian comedy music group The Arrogant Worms released an album called Dirt in 1999 which contained a song called "Celine Dion", about the singers' stalker-like affection for her. Dion has also been referred/mentioned in various hit songs including "Dark Fantasy" by Kanye West, "911/Mr. Lonely" by Tyler, the Creator, "That Girl" by Pharrell Williams, "Work" by A$AP Ferg, and "What's The Use" by Mac Miller, to name a few. Cultural honors In 1999, Dion received a star on Canada's Walk of Fame and was inducted into the Canadian Broadcast Hall of Fame. She received a star on the Hollywood Walk of Fame in January 2004, one which she dedicated to her father, who had died the month prior. In May 2003, she placed at No. 10 on VH1's list of "50 Greatest Women of the Video Era". Dion's album Falling into You is included on the Rock and Roll Hall of Fame's Definitive 200 list. "My Heart Will Go On" was included in the list of Songs of the Century, by the Recording Industry Association of America and the National Endowment for the Arts. In 2021, Dion was ranked by Forbes as the third richest woman in entertainment with an estimated net worth of US$460 million. In August 2008, she received an honorary doctorate in music from the Université Laval in Quebec City. In October 2010, Dion was named a Goodwill Ambassador, a program created by the UN in 1999, sharing this accolade with Oscar-winner Susan Sarandon. She also received several state decorations. In 2004, she was awarded the Society of Singers Lifetime Achievement Award. On 26 July 2013, she was awarded the highest rank of the Order of Canada, the Companion of the Order of Canada, by the Governor General of Canada and the investiture ceremony was held at Citadelle of Quebec, in which they said: "An incomparable artist, she is equally known for her compassion, generosity and commitment to a number of social and humanitarian causes. She is notably the national celebrity patron for Cystic Fibrosis Canada and honorary patron of the CHU Sainte-Justine. In addition, through her foundation, she also helps children in need and their families here in Canada and abroad." By the end of 1998, Dion was recognized by Billboard as the "Woman of the Year". They also stated how Céline's voice was featured in eight charting albums on Billboard 200 year-end chart which sold 18 million units during a calendar year (excluding her own catalog sales and recent releases at that time). West University of Timișoara conducted a research study that analyzes Céline Dion's contributions to global music culture in both spatial and temporal terms, In November 2013, Dion was inducted at the American Gaming Association Hall Of Fame for her outstanding contributions to the growth and stature of the gaming industry. In popular culture Dion was referenced as an antagonist character named "Feline Dion" from the hit animated series Totally Spies! which was aired in an episode in 2013. In 2021, French actress and filmmaker Valérie Lemercier released Aline, a film which fictionalized Dion's life with Lemercier playing a singer named "Aline Dieu". Other activities Business endeavours Les Productions Feeling Inc., also known as Feeling Inc. or just Feeling, is an artist management company based in Laval, Québec, Canada, and owned by Dion and her husband and manager, Rene Angélil. She is also founder of Nickels Restaurant food chain. She and her husband also own Le Mirage Golf Club and Schwartz's Restaurant. In association with Andre Agassi, Steffi Graf and Shaquille O'Neal, she opened a popular night club called Pure, located at Caesars Palace. Dion became an entrepreneur with the establishment of her franchise restaurant Nickels in 1990. She has since divested her interests in the chain and is no longer affiliated with Nickels, as of 1997. In 2003, Dion signed a deal with Coty, Inc. to release Celine Dion Parfums. Her latest fragrance, Signature, was released in September 2011 with an advertising campaign by New York agency Kraftworks NYC. Since its inception, Celine Dion Parfums has grossed over $850 million in retail sales. In October 2004, Air Canada hired Dion as part of their promotional campaign to unveil new service products and an updated livery. "You and I", the theme song sung by Dion, was written by advertising executives working for Air Canada. Dion also launched an eponymous bag and accessories line "Céline Dion Collection". According to Innee-Sedona International, the Asia partner for Bugatti Group said that it already topped $10 million sales after just three collections. Philanthropy Dion has actively supported many charity organizations, worldwide. She has promoted the Canadian Cystic Fibrosis Foundation (CCFF) since 1982, and became the foundation's National Celebrity Patron in 1993. She has an emotional attachment to the foundation; her niece Karine succumbed to the disease at the age of sixteen, in Dion's arms. In 2003, she joined a number of other celebrities, athletes, and politicians, including Josh Groban and Yolanda Adams to support "World Children's Day", a global fundraising effort sponsored by McDonald's. The effort raised money from more than 100 nations and benefited orphanages and children's health organizations. In addition, she has been a major supporter of the T. J. Martell Foundation, the Diana Princess of Wales Memorial Fund, and many health and educational campaigns. During the aftermath of Hurricane Katrina, she donated $1 million to the victims of the storm, and held a fund-raising event for the victims of the 2004 Asian tsunami, which subsequently raised more than $1 million. After the 2008 Sichuan earthquake, she donated $100,000 to China Children & Teenagers' Fund and sent a letter showing her consolation and support. Since 2004, she is involved, alongside husband René Angelil, with the Québec gay community by supporting the publication of health and HIV prevention materials in Gay Globe Magazine, owned by journalist Roger-Luc Chayer. She is also a member of Canadian charity Artists Against Racism. In November 2018, she launched a gender-neutral clothing line for kids, Celinununu. In 2009, Dion joined an effort along with Leonardo DiCaprio, James Cameron and Kate Winslet, to donate money to support the nursing home fees of the then-last living survivor of the sinking of the Titanic, Millvina Dean. The campaign resulted in $30,000 as donation. Personal life As the youngest of 14 children, Dion grew up wearing hand-me-downs and sharing a bed with several sisters. As a baby, she slept in a drawer to save on a crib. She was bullied at school and called "Vampire", owing to her teeth and skinny frame. Local tabloids even dubbed her "Canine Dion" in the teenage years of her career. She often spoke of running home from school to play music in the basement with her brothers and sisters. "I detested school", she would later write in her autobiography. "I had always lived surrounded by adults and children a lot older than me. I learned everything I needed to know from them. As far as I was concerned, real life existed around them." Dion's eldest sister was already in her twenties, married, and pregnant with her first child at the time Dion's mother, Thérèse, was pregnant with Celine. Dion first met René Angélil, her future husband and manager, in 1980, when she was 12 and he was 38, after her brother, Michel Dondalinger Dion, had sent him a demonstration recording of "Ce n'était qu'un rêve" ("It Was Only a Dream/Nothing But A Dream"), a song she, her mother Thérèse, and her brother Jacques Dion had jointly written. Over subsequent years, Angélil guided her to stardom in francophone territories. After the dissolution of Angélil's second marriage, he and Dion took a professional break and he spent the major part of the year in Las Vegas, while Dion was learning English and taking dance and vocal lessons in Montreal. Upon his return, "he avoided being alone with me for too long a time", she said in her 2000 autobiography My Story, My Dream. Meanwhile, she kept a photo of Angélil under her pillow, writing, "Before I fell asleep, I slipped it under the pillow, out of fear that my mother, who always shared a room with me, would find it." She also wrote "Less and less could I hide from myself the fact that I was in love with Rene; I had all the symptoms," and "I was in love with a man I couldn't love, who didn't want me to love him, who didn't want to love me." Dion's mother, who traveled everywhere with the singer until she was 19, was initially wary of her daughter's growing infatuation with a much older and twice-divorced Angélil, but Dion was insistent, telling her mother "I'm not a minor. This is a free country. No one has the right to prevent me from loving whoever I want to." Their professional relationship eventually turned romantic after Dion's win at the Eurovision Song Contest in Dublin in 1988; she was 20. The romance was known to only family and friends for five years, though Dion nearly revealed all in a tearful 1992 interview with journalist Lise Payette. Many years later, Payette penned the song "Je cherche l'ombre" for Dion's 2007 album D'elles. Dion and Angélil became engaged in 1993, on Dion's 25th birthday, and made their relationship public in the liner notes of her 1993 album The Colour of My Love. They married on 17 December 1994, at Notre-Dame Basilica in Montreal, Quebec. On 5 January 2000, Dion and Angélil renewed their wedding vows in Las Vegas. In May 2000, Dion had two small operations at a fertility clinic in New York to improve her chances of conceiving, after deciding to use in vitro fertilization because of years of failed attempts to conceive. Their first son, René-Charles Angélil, was born on 25 January 2001. Dion suffered a miscarriage in 2009. In May 2010, Angélil announced that she was 14 weeks pregnant with twins after a sixth treatment of in vitro fertilization. On Saturday, 23 October 2010, at 11:11 and 11:12 am respectively, Dion gave birth to fraternal twins by Caesarean section at St. Mary's Medical Center in West Palm Beach, Florida, The twins were named Eddy, after Dion's favourite French songwriter, Eddy Marnay, who had also produced her first five albums; and Nelson, after former South African President Nelson Mandela. She appeared with her newborn sons on the cover of 9 December 2010 issue of the Canadian edition of Hello! magazine. On 14 January 2016, Angélil died of throat cancer. His funeral was held on 22 January 2016, in Notre-Dame Basilica in Montreal, where he and Dion wed 21 years earlier. The couple's eldest son, René-Charles, gave the eulogy just three days before his 15th birthday. Following Angélil's death, Dion became the sole owner and president of her management and production companies, including CDA Productions and Les Productions Feeling. Two days after Angélil's deathon what would have been her husband's birthdayDion's brother, Daniel, died aged 59, also of cancer. On 22 March 2018, Dion's management team announced that she had been dealing with hearing irregularities for the previous 12–18 months due to patulous Eustachian tube and would undergo a minimally invasive surgical procedure to correct the problem after ear-drop medications appeared to be no longer working. Owing to her slight frame, Dion has for decades been subject of eating disorder rumors, which she has consistently denied: "I don't have an eating problem, and there's nothing more I can say about it". "My work requires me to be in great physical shape. I wouldn't have been able to live up to a hundred shows a year and travel ceaselessly from one end of the world to the other if I had eaten too much or not enough, or if, as certain magazines have claimed, I made myself throw up after each meal." She has often spoken about having been bullied at school and lacking confidence in her early years in the business: "I didn't have, visually, what it took. I was not pretty, I had teeth problems, and I was very skinny. I didn't fit the mold". Dion took up ballet under the guidance of her former dancer, Naomi Stikeman, who also previously performed for The National Ballet of Canada and La La La Human Steps, and former Cirque du Soleil dancer-turned-fashion-illustrator, Pepe Muñoz, who is also part of her styling team. She is also a skier and a regular at her son René-Charles' hockey games. Dion resides in Henderson, Nevada, in a house she bought with her husband in 2003. She previously owned homes in Montreal, Quebec, and Jupiter Island, Florida. Dion's older son René-Charles Angélil loves music and has tried to follow a musical path. Under the stage name Big Tip, he released in May 2018 on his SoundCloud account 6 rap songs including originals "The Kid", "The Apple" and "Never Stop" and two adaptations from The Weeknd songs, "Catwalks" sampling on The Weeknd's "Sidewalks" and a remix of The Weeknd's "Loft Music" as "Loft Music Remix". He also released the 5-track EP CasiNo. 5 in December 2020 using the artistic name RC Angelil. The EP includes the tracks "Mamba Mentality", "Money, Thrills and Rest", "No Ls", "GG4" (featuring PAKKA) and "LV". Discography French-language studio albums La voix du bon Dieu (1981) Céline Dion chante Noël (1981) Tellement j'ai d'amour... (1982) Les chemins de ma maison (1983) Chants et contes de Noël (1983) Mélanie (1984) C'est pour toi (1985) Incognito (1987) Dion chante Plamondon (1991) D'eux (1995) S'il suffisait d'aimer (1998) 1 fille & 4 types (2003) D'elles (2007) Sans attendre (2012) Encore un soir (2016) English-language studio albums Unison (1990) Celine Dion (1992) The Colour of My Love (1993) Falling into You (1996) Let's Talk About Love (1997) These Are Special Times (1998) A New Day Has Come (2002) One Heart (2003) Miracle (2004) Taking Chances (2007) Loved Me Back to Life (2013) Courage (2019) Concert tours and residencies Tours Les chemins de ma maison (1983–1984) Céline Dion en concert (1985) Tournée Incognito (1988) Unison Tour (1990–1991) Celine Dion in Concert (1992–1993) The Colour of My Love Tour (1994–1995) D'eux Tour (1995–1996) Falling into You: Around the World (1996–1997) Let's Talk About Love World Tour (1998–1999) Taking Chances World Tour (2008–2009) Tournée Européenne 2013 Summer Tour 2016 Celine Dion Live 2017 Celine Dion Live 2018 Courage World Tour (2019–2023) Residencies A New Day... (2003–2007) Celine (2011–2019) Celine (2022) Filmography Touched by an Angel The Nanny All My Children La fureur de Céline Des fleurs sur la neige Quest for Camelot as Juliana (singing voice) Céline sur les Plaines Celine: Through the Eyes of the World Sur la piste du Marsupilami Hell's Kitchen Muppets Most Wanted References Bibliography Céline Dion. Artist direct. Retrieved on 18 December 2005. "Celine Dion". Contemporary Musicians, Volume 25. Gale Group, 1999. "Celine Dion". Newsmakers 1995, Issue 4. Gale Research, 1995. Céline Dion. Rock on the Net. Retrieved 20 November 2005. Céline Dion. The Canadian Encyclopedia. Retrieved 2 July 2006 Céline Dion provided by VH1.com Retrieved 16 August 2005. Dion extends long Las Vegas stint. news.bbc.co.uk. Retrieved 5 November 2005. Durchholz, Daniel. Review: One Heart. St. Louis Post-Dispatch. St. Louis, Mo.: 24 April 2003. p. F.3 The 100 Outstanding Pop Vocalist covemagazine.com Retrieved 1 November 2005. Joel Whitburn Presents the Billboard Hot 100 Charts: The Nineties () World Music Awards Diamond Award Retrieved 1 November 2005, (Search by year required) Further reading External links CelineDion.com – Official website operated by Sony Music Canada (English, French). [ Celine Dion] at AllMusic [ Celine Dion] at Billboard.com 1968 births Living people 20th-century Canadian composers 20th-century Canadian women singers 20th-century women composers 21st-century Canadian composers 21st-century Canadian women singers 21st-century women composers 550 Music artists Ballad musicians Businesspeople from Florida Businesspeople from Quebec Canadian businesspeople in retailing Canadian child singers Canadian contemporary R&B singers Canadian dance musicians Canadian expatriate musicians in the United States Canadian women pop singers Canadian women rock singers Canadian women singers Canadian pop pianists Canadian restaurateurs Canadian Roman Catholics Canadian soft rock musicians Canadian sopranos Canadian soul singers Canadian voice actresses Canadian women in business Canadian women philanthropists Canadian women pianists Chevaliers of the Légion d'honneur Chevaliers of the Ordre des Arts et des Lettres Columbia Records artists Companions of the Order of Canada Epic Records artists Eurovision Song Contest entrants for Switzerland Eurovision Song Contest entrants of 1988 Eurovision Song Contest winners FAO Goodwill ambassadors Félix Award winners French-language singers of Canada French Quebecers Grammy Award winners Ivor Novello Award winners Juno Award for Album of the Year winners Juno Award for Artist of the Year winners Juno Award for Dance Recording of the Year winners Juno Award for Francophone Album of the Year winners Juno Award for International Album of the Year winners Juno Award for Single of the Year winners Juno International Achievement Award winners Las Vegas shows Musicians from Las Vegas Officers of the National Order of Quebec People from Charlemagne, Quebec People from Henderson, Nevada People from Jupiter Island, Florida Philanthropists from Florida Philanthropists from Nevada Philanthropists from Quebec Pop rock singers Singers from Quebec Singers with a three-octave vocal range Spanish-language singers of Canada Women restaurateurs World Music Awards winners

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What are their carer woes?

What are Sonny & Cher's career woes?

Sonny & Cher

In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" (No. 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100), that peaked at the number one in five European countries. In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity Sun Bono, born on March 4, 1969. CANNOTANSWER

Sonny and Cher's career had stalled by 1968 as album sales quickly dried up.

Sonny & Cher were an American pop and entertainment duo in the 1960s and 1970s, made up of husband and wife Sonny Bono and Cher. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector. The pair first achieved fame with two hit songs in 1965, "Baby Don't Go" and "I Got You Babe". Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, "Chastity's Song (Band of Thieves)". In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label. In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple's career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide. Rolling Stone ranked them No. 18 on its list of the 20 Greatest Duos of All Time. Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny's death in a skiing accident. Career 1962–1964: The origin Cherilyn Sarkisian first met Salvatore Bono in a Los Angeles coffee shop in November 1962, when she was sixteen. Eleven years her senior, Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood. The two became best friends, eventual lovers, and were supposedly married in 1964, but Bono says in his autobiography that it was not an official marriage. They were legally wed after their only child, Chaz, was born. Through Bono, Cher started as a session singer, and sang backup on several of Spector's classic recordings, including "Be My Baby" by the Ronettes, "You've Lost That Loving Feeling" by The Righteous Brothers and Darlene Love's "A Fine, Fine Boy". In Darlene Love's recording, the listener can clearly hear Cher and Sonny close to the mic (along with Love, who recorded her own backing vocals). 1965–1966: Career development With Bono continuing to write, arrange and produce the songs, the couple's first incarnation was as the duo "Caesar and Cleo". They released some singles in 1964, including "The Letter", with Vault Records, and "The Letter", "Do You Wanna Dance" and "Love Is Strange", with Reprise Records. In September 1964, they released "Baby Don't Go" under the name of Sonny & Cher, which became their first regional hit. The song was later included on the 1965 Reprise compilation Baby Don't Go – Sonny & Cher and Friends, which also included songs from artists such as Bill Medley, The Lettermen and The Blendells. The duo released their first album Look at Us in the summer of 1965. The album contained the number one single "I Got You Babe". Look at Us peaked at number two on the Billboard chart for eight weeks in the later part of 1965. The couple appeared on many of the top television shows of the era including The Ed Sullivan Show, American Bandstand, Where The Action Is, Hollywood A Go-Go, Hollywood Palace, Hullabaloo, Beat Club, Shindig!, Ready Steady Go! and Top of the Pops. They also appeared as themselves in the film Wild on the Beach, singing "It's Gonna Rain". On their first album Bono also displayed his political interest long before running for Congress in the lyrics of the song, "The Revolution Kind". As the followup to the success of Look at Us, they released their second studio album in April 1966, The Wondrous World of Sonny & Chér, which peaked at number 34. The two dressed in animal skins with Bono wearing knee high caveman boots and Cher going barefoot. During 1965, five of their songs were in US Billboard Top 20, a record passed only by Elvis Presley and behind famous artists like The Beatles, The Rolling Stones and others. Periodic solo releases by Cher continued during this period, including major successes with "Bang Bang (My Baby Shot Me Down)", and Burt Bacharach & Hal David's theme from "Alfie" (as heard in the motion picture Alfie, as well as a single release), both in 1966. They sided with the young people being harassed on the Sunset Strip during the Sunset Strip curfew riots; they were removed from their promised position of honor in the Tournament of Roses Parade in January 1967. 1967–1969: Career woes In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" ( 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100). In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking, glamorous singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity (named after Cher's movie), born on March 4, 1969. 1970–1977: TV success and divorce In 1970, Sonny and Cher starred in their first television special, The Nitty Gritty Hour, a mixture of slapstick comedy, skits, and live music. The appearance was a critical success, which led to numerous guest spots on other television shows. They also appeared in The New Scooby-Doo Movies as guest stars. Sonny and Cher caught the eye of CBS head of programming Fred Silverman while guest-hosting The Merv Griffin Show, and Silverman offered the duo their own variety show. The Sonny and Cher Comedy Hour debuted in 1971 as a summer replacement series. The show returned to prime time later that year and was an immediate hit, quickly reaching the Top 10. The show received 15 Emmy Award nominations during its run, winning one for direction, throughout its initial four seasons on CBS. The duo also revived their recording career, releasing the album All I Ever Need Is You, and charting two more top ten hits: "All I Ever Need Is You", and "A Cowboy's Work Is Never Done" in 1972. Sonny and Cher's dialogues were patterned after the successful nightclub routines of Louis Prima and Keely Smith: the happy-go-lucky husband squelched by a tart remark from the unamused wife. The show featured a stock company of zany comedians, including Teri Garr, Freeman King, Ted Ziegler, Billy Van and Murray Langston (later The Unknown Comic on The Gong Show). One sketch satirizing CBS's detective show Cannon and its portly star William Conrad was so successful that Sonny and Cher staged several follow-ups, with Tony Curtis as "Detective Fat". Everybody in these sketches wore wide-waisted "fat suits" (similar to hoop skirts), so Detective Fat and his clients and his suspects would spend most of the time bumping each other and bouncing across the crowded room. By the third season of the Sonny and Cher Comedy Hour, the marriage of Sonny and Cher was falling apart; the duo separated later that year. The show imploded, while still rating in the top 10. What followed was a very public divorce (finalized on June 26, 1975). Cher won a Golden Globe Award for Best Performance By an Actress in a Television Series – Musical or Comedy for The Sonny and Cher Comedy Hour in 1974. Bono launched his own show, The Sonny Comedy Revue, in the fall of 1974, retaining the "Sonny and Cher" troupe of comedians and writers. Cher also announced plans to star in a new variety series of her own. Critics predicted that Bono would be the big winner with a solo comedy vehicle, and held little hope for Cher's more musical showcase. After only six weeks, however, Bono's show was abruptly canceled. The Cher show debuted as an elaborate, all-star television special on February 16, 1975, featuring Flip Wilson, Bette Midler, and special guest Elton John. Cloris Leachman and Jack Albertson both won Emmy Awards for their appearances as guest-stars a few weeks later, and the series received four additional Emmy nominations that year. The first season ranked in the Top 25 of the year-end ratings. As a result of the divorce, Sonny and Cher went their separate ways until Cher attended the opening of one of Bono's restaurants in something of a reconciliation. The Sonny & Cher Show returned in 1976, even though they were no longer married (the duo "reunited" with a humorous handshake). After struggling with low ratings through 1977, Sonny and Cher finally parted ways for good. In 1976, Mego Toys also released a line of toys and dolls, in the likeness of Sonny & Cher. The release of these fashion dolls coincided with the popularity of The Sonny & Cher Show. 1978–1999: After Sonny and Cher Sonny Bono went on to an acting career and later entered politics, eventually becoming a member of the U.S. House of Representatives. Cher went on to become a Grammy Award-winning solo singer and an Academy Award-winning actress. The couple made two surprise impromptu reunion performances: the first on The Mike Douglas Show in the spring of 1979, singing a medley of "United We Stand" and "Without You", and the second on November 13, 1987, on Late Night with David Letterman where they performed their hit song "I Got You Babe"; it turned out to be the last time the two would perform together. In early 1999, And the Beat Goes On: The Sonny and Cher Story, directed by David Burton Morris and starring Jay Underwood and Renee Faia, was broadcast on ABC. The TV movie was based on the autobiography of Bono, and focuses on the relationship between the couple during the early 1960s to their divorce in the late 1970s. This movie was also nominated for two Emmy Awards. Bono's death, music copyright On January 5, 1998, Bono died of injuries from hitting a tree while skiing at Heavenly Ski Resort in Lake Tahoe. He was 62 years old. Bono's death came just days after Michael Kennedy died in a similar accident. Bono's widow, Mary, was selected to fill the remainder of his congressional term, and was re-elected in her own right, serving until she was defeated for re-election in 2012. She continues to champion many of her late husband's causes, including the ongoing fight as how to best save the Salton Sea. The funeral, unbeknownst to Cher, was broadcast live on CNN. She gave a tearful eulogy, after which the attendees sang the song "The Beat Goes On". In front of millions, Cher tearfully and effusively praised Bono, calling him "the most unforgettable character I've ever met". His final resting place is Desert Memorial Park in nearby Cathedral City, California, the same cemetery in which Frank Sinatra was laid to rest later that same year. The epitaph on Bono's headstone reads: "And The Beat Goes On". In 1998, Sonny and Cher received a star on the Hollywood Walk of Fame for Television. Cher appeared at the event with Mary Bono, who accepted the award on behalf of her late husband. Cher paid tribute to Bono in the CBS special Sonny and Me: Cher Remembers, calling her grief "something I never plan to get over". During the same year, Cher also released her twenty-second album Believe that was highly influenced by Bono's death, and in the booklet Cher wrote "In memory of Son". When Cher and Bono divorced, they agreed to split revenue from the songs recorded together. When Bono died, one-third of his interest passed to wife Mary Bono-Mack, and one-sixth interests were split amongst his children. Cher sued UMG in 2009, claiming she and Bono's heirs were owed $5,000,000 in "hidden" royalties. Legacy and achievements Author Joseph Murrells described Sonny & Cher as "part of the leading exponents of the rock-folk-message type of song, a hybrid combining the best and instrumentation of rock music with folk lyric and often lyrics of protest." The Sonny and Cher Comedy Hour received numerous Emmy nominations; Director Art Fisher won for Outstanding Directing for a Variety Series in 1972. Cher won a Golden Globe Award for Best Actress – Television Series Musical or Comedy in 1974. Sonny and Cher received the following honors: 1966: Grammy nomination for Best New Artist 1972: Grammy nomination for Best Pop Duo/Group Performance 1998: Received a star on the Hollywood Walk of Fame 2015: Ranked No. 18 on Rolling Stone's list of the 20 Greatest Duos of All Time Filmography Discography Look at Us (1965) The Wondrous World of Sonny & Chér (1966) In Case You're in Love (1967) All I Ever Need Is You (1972) Mama Was a Rock and Roll Singer, Papa Used to Write All Her Songs (1974) See also Cher Sonny Bono Supercouple List of number-one hits (United States) List of artists who reached number one on the Billboard Hot 100 References Notes Books Sonny And Cher - Thomas Braun (1978). And The Beat Goes On - Sonny Bono (1991). The First Time - Cher (1998). External links Behind the Making of Sonny & Cher: Complete Discography & Recording History to 1970 The Wondrous World of Sonny & Cher Information sites + American pop rock music groups American musical duos American pop music groups Atco Records artists Atlantic Records artists Cher Married couples MCA Records artists Musical groups established in 1964 Rock music duos Sonny Bono Male–female musical duos Reprise Records artists Warner Records artists

C_879d236d48394cb2b34e01e16d9ff3b4_1

Which of their album was the most successful?

Which of Sonny & Cher's albums was the most successful?

Sonny & Cher

In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" (No. 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100), that peaked at the number one in five European countries. In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity Sun Bono, born on March 4, 1969. CANNOTANSWER

their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles,

Sonny & Cher were an American pop and entertainment duo in the 1960s and 1970s, made up of husband and wife Sonny Bono and Cher. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector. The pair first achieved fame with two hit songs in 1965, "Baby Don't Go" and "I Got You Babe". Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, "Chastity's Song (Band of Thieves)". In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label. In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple's career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide. Rolling Stone ranked them No. 18 on its list of the 20 Greatest Duos of All Time. Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny's death in a skiing accident. Career 1962–1964: The origin Cherilyn Sarkisian first met Salvatore Bono in a Los Angeles coffee shop in November 1962, when she was sixteen. Eleven years her senior, Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood. The two became best friends, eventual lovers, and were supposedly married in 1964, but Bono says in his autobiography that it was not an official marriage. They were legally wed after their only child, Chaz, was born. Through Bono, Cher started as a session singer, and sang backup on several of Spector's classic recordings, including "Be My Baby" by the Ronettes, "You've Lost That Loving Feeling" by The Righteous Brothers and Darlene Love's "A Fine, Fine Boy". In Darlene Love's recording, the listener can clearly hear Cher and Sonny close to the mic (along with Love, who recorded her own backing vocals). 1965–1966: Career development With Bono continuing to write, arrange and produce the songs, the couple's first incarnation was as the duo "Caesar and Cleo". They released some singles in 1964, including "The Letter", with Vault Records, and "The Letter", "Do You Wanna Dance" and "Love Is Strange", with Reprise Records. In September 1964, they released "Baby Don't Go" under the name of Sonny & Cher, which became their first regional hit. The song was later included on the 1965 Reprise compilation Baby Don't Go – Sonny & Cher and Friends, which also included songs from artists such as Bill Medley, The Lettermen and The Blendells. The duo released their first album Look at Us in the summer of 1965. The album contained the number one single "I Got You Babe". Look at Us peaked at number two on the Billboard chart for eight weeks in the later part of 1965. The couple appeared on many of the top television shows of the era including The Ed Sullivan Show, American Bandstand, Where The Action Is, Hollywood A Go-Go, Hollywood Palace, Hullabaloo, Beat Club, Shindig!, Ready Steady Go! and Top of the Pops. They also appeared as themselves in the film Wild on the Beach, singing "It's Gonna Rain". On their first album Bono also displayed his political interest long before running for Congress in the lyrics of the song, "The Revolution Kind". As the followup to the success of Look at Us, they released their second studio album in April 1966, The Wondrous World of Sonny & Chér, which peaked at number 34. The two dressed in animal skins with Bono wearing knee high caveman boots and Cher going barefoot. During 1965, five of their songs were in US Billboard Top 20, a record passed only by Elvis Presley and behind famous artists like The Beatles, The Rolling Stones and others. Periodic solo releases by Cher continued during this period, including major successes with "Bang Bang (My Baby Shot Me Down)", and Burt Bacharach & Hal David's theme from "Alfie" (as heard in the motion picture Alfie, as well as a single release), both in 1966. They sided with the young people being harassed on the Sunset Strip during the Sunset Strip curfew riots; they were removed from their promised position of honor in the Tournament of Roses Parade in January 1967. 1967–1969: Career woes In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" ( 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100). In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking, glamorous singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity (named after Cher's movie), born on March 4, 1969. 1970–1977: TV success and divorce In 1970, Sonny and Cher starred in their first television special, The Nitty Gritty Hour, a mixture of slapstick comedy, skits, and live music. The appearance was a critical success, which led to numerous guest spots on other television shows. They also appeared in The New Scooby-Doo Movies as guest stars. Sonny and Cher caught the eye of CBS head of programming Fred Silverman while guest-hosting The Merv Griffin Show, and Silverman offered the duo their own variety show. The Sonny and Cher Comedy Hour debuted in 1971 as a summer replacement series. The show returned to prime time later that year and was an immediate hit, quickly reaching the Top 10. The show received 15 Emmy Award nominations during its run, winning one for direction, throughout its initial four seasons on CBS. The duo also revived their recording career, releasing the album All I Ever Need Is You, and charting two more top ten hits: "All I Ever Need Is You", and "A Cowboy's Work Is Never Done" in 1972. Sonny and Cher's dialogues were patterned after the successful nightclub routines of Louis Prima and Keely Smith: the happy-go-lucky husband squelched by a tart remark from the unamused wife. The show featured a stock company of zany comedians, including Teri Garr, Freeman King, Ted Ziegler, Billy Van and Murray Langston (later The Unknown Comic on The Gong Show). One sketch satirizing CBS's detective show Cannon and its portly star William Conrad was so successful that Sonny and Cher staged several follow-ups, with Tony Curtis as "Detective Fat". Everybody in these sketches wore wide-waisted "fat suits" (similar to hoop skirts), so Detective Fat and his clients and his suspects would spend most of the time bumping each other and bouncing across the crowded room. By the third season of the Sonny and Cher Comedy Hour, the marriage of Sonny and Cher was falling apart; the duo separated later that year. The show imploded, while still rating in the top 10. What followed was a very public divorce (finalized on June 26, 1975). Cher won a Golden Globe Award for Best Performance By an Actress in a Television Series – Musical or Comedy for The Sonny and Cher Comedy Hour in 1974. Bono launched his own show, The Sonny Comedy Revue, in the fall of 1974, retaining the "Sonny and Cher" troupe of comedians and writers. Cher also announced plans to star in a new variety series of her own. Critics predicted that Bono would be the big winner with a solo comedy vehicle, and held little hope for Cher's more musical showcase. After only six weeks, however, Bono's show was abruptly canceled. The Cher show debuted as an elaborate, all-star television special on February 16, 1975, featuring Flip Wilson, Bette Midler, and special guest Elton John. Cloris Leachman and Jack Albertson both won Emmy Awards for their appearances as guest-stars a few weeks later, and the series received four additional Emmy nominations that year. The first season ranked in the Top 25 of the year-end ratings. As a result of the divorce, Sonny and Cher went their separate ways until Cher attended the opening of one of Bono's restaurants in something of a reconciliation. The Sonny & Cher Show returned in 1976, even though they were no longer married (the duo "reunited" with a humorous handshake). After struggling with low ratings through 1977, Sonny and Cher finally parted ways for good. In 1976, Mego Toys also released a line of toys and dolls, in the likeness of Sonny & Cher. The release of these fashion dolls coincided with the popularity of The Sonny & Cher Show. 1978–1999: After Sonny and Cher Sonny Bono went on to an acting career and later entered politics, eventually becoming a member of the U.S. House of Representatives. Cher went on to become a Grammy Award-winning solo singer and an Academy Award-winning actress. The couple made two surprise impromptu reunion performances: the first on The Mike Douglas Show in the spring of 1979, singing a medley of "United We Stand" and "Without You", and the second on November 13, 1987, on Late Night with David Letterman where they performed their hit song "I Got You Babe"; it turned out to be the last time the two would perform together. In early 1999, And the Beat Goes On: The Sonny and Cher Story, directed by David Burton Morris and starring Jay Underwood and Renee Faia, was broadcast on ABC. The TV movie was based on the autobiography of Bono, and focuses on the relationship between the couple during the early 1960s to their divorce in the late 1970s. This movie was also nominated for two Emmy Awards. Bono's death, music copyright On January 5, 1998, Bono died of injuries from hitting a tree while skiing at Heavenly Ski Resort in Lake Tahoe. He was 62 years old. Bono's death came just days after Michael Kennedy died in a similar accident. Bono's widow, Mary, was selected to fill the remainder of his congressional term, and was re-elected in her own right, serving until she was defeated for re-election in 2012. She continues to champion many of her late husband's causes, including the ongoing fight as how to best save the Salton Sea. The funeral, unbeknownst to Cher, was broadcast live on CNN. She gave a tearful eulogy, after which the attendees sang the song "The Beat Goes On". In front of millions, Cher tearfully and effusively praised Bono, calling him "the most unforgettable character I've ever met". His final resting place is Desert Memorial Park in nearby Cathedral City, California, the same cemetery in which Frank Sinatra was laid to rest later that same year. The epitaph on Bono's headstone reads: "And The Beat Goes On". In 1998, Sonny and Cher received a star on the Hollywood Walk of Fame for Television. Cher appeared at the event with Mary Bono, who accepted the award on behalf of her late husband. Cher paid tribute to Bono in the CBS special Sonny and Me: Cher Remembers, calling her grief "something I never plan to get over". During the same year, Cher also released her twenty-second album Believe that was highly influenced by Bono's death, and in the booklet Cher wrote "In memory of Son". When Cher and Bono divorced, they agreed to split revenue from the songs recorded together. When Bono died, one-third of his interest passed to wife Mary Bono-Mack, and one-sixth interests were split amongst his children. Cher sued UMG in 2009, claiming she and Bono's heirs were owed $5,000,000 in "hidden" royalties. Legacy and achievements Author Joseph Murrells described Sonny & Cher as "part of the leading exponents of the rock-folk-message type of song, a hybrid combining the best and instrumentation of rock music with folk lyric and often lyrics of protest." The Sonny and Cher Comedy Hour received numerous Emmy nominations; Director Art Fisher won for Outstanding Directing for a Variety Series in 1972. Cher won a Golden Globe Award for Best Actress – Television Series Musical or Comedy in 1974. Sonny and Cher received the following honors: 1966: Grammy nomination for Best New Artist 1972: Grammy nomination for Best Pop Duo/Group Performance 1998: Received a star on the Hollywood Walk of Fame 2015: Ranked No. 18 on Rolling Stone's list of the 20 Greatest Duos of All Time Filmography Discography Look at Us (1965) The Wondrous World of Sonny & Chér (1966) In Case You're in Love (1967) All I Ever Need Is You (1972) Mama Was a Rock and Roll Singer, Papa Used to Write All Her Songs (1974) See also Cher Sonny Bono Supercouple List of number-one hits (United States) List of artists who reached number one on the Billboard Hot 100 References Notes Books Sonny And Cher - Thomas Braun (1978). And The Beat Goes On - Sonny Bono (1991). The First Time - Cher (1998). External links Behind the Making of Sonny & Cher: Complete Discography & Recording History to 1970 The Wondrous World of Sonny & Cher Information sites + American pop rock music groups American musical duos American pop music groups Atco Records artists Atlantic Records artists Cher Married couples MCA Records artists Musical groups established in 1964 Rock music duos Sonny Bono Male–female musical duos Reprise Records artists Warner Records artists

C_879d236d48394cb2b34e01e16d9ff3b4_1

Which of the singles in the album were listed?

Which of the singles in Sonny & Cher's album "In Case You're In Love" were listed?

Sonny & Cher

In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" (No. 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100), that peaked at the number one in five European countries. In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity Sun Bono, born on March 4, 1969. CANNOTANSWER

"The Beat Goes On" (No. 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100),

Sonny & Cher were an American pop and entertainment duo in the 1960s and 1970s, made up of husband and wife Sonny Bono and Cher. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector. The pair first achieved fame with two hit songs in 1965, "Baby Don't Go" and "I Got You Babe". Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, "Chastity's Song (Band of Thieves)". In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label. In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple's career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide. Rolling Stone ranked them No. 18 on its list of the 20 Greatest Duos of All Time. Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny's death in a skiing accident. Career 1962–1964: The origin Cherilyn Sarkisian first met Salvatore Bono in a Los Angeles coffee shop in November 1962, when she was sixteen. Eleven years her senior, Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood. The two became best friends, eventual lovers, and were supposedly married in 1964, but Bono says in his autobiography that it was not an official marriage. They were legally wed after their only child, Chaz, was born. Through Bono, Cher started as a session singer, and sang backup on several of Spector's classic recordings, including "Be My Baby" by the Ronettes, "You've Lost That Loving Feeling" by The Righteous Brothers and Darlene Love's "A Fine, Fine Boy". In Darlene Love's recording, the listener can clearly hear Cher and Sonny close to the mic (along with Love, who recorded her own backing vocals). 1965–1966: Career development With Bono continuing to write, arrange and produce the songs, the couple's first incarnation was as the duo "Caesar and Cleo". They released some singles in 1964, including "The Letter", with Vault Records, and "The Letter", "Do You Wanna Dance" and "Love Is Strange", with Reprise Records. In September 1964, they released "Baby Don't Go" under the name of Sonny & Cher, which became their first regional hit. The song was later included on the 1965 Reprise compilation Baby Don't Go – Sonny & Cher and Friends, which also included songs from artists such as Bill Medley, The Lettermen and The Blendells. The duo released their first album Look at Us in the summer of 1965. The album contained the number one single "I Got You Babe". Look at Us peaked at number two on the Billboard chart for eight weeks in the later part of 1965. The couple appeared on many of the top television shows of the era including The Ed Sullivan Show, American Bandstand, Where The Action Is, Hollywood A Go-Go, Hollywood Palace, Hullabaloo, Beat Club, Shindig!, Ready Steady Go! and Top of the Pops. They also appeared as themselves in the film Wild on the Beach, singing "It's Gonna Rain". On their first album Bono also displayed his political interest long before running for Congress in the lyrics of the song, "The Revolution Kind". As the followup to the success of Look at Us, they released their second studio album in April 1966, The Wondrous World of Sonny & Chér, which peaked at number 34. The two dressed in animal skins with Bono wearing knee high caveman boots and Cher going barefoot. During 1965, five of their songs were in US Billboard Top 20, a record passed only by Elvis Presley and behind famous artists like The Beatles, The Rolling Stones and others. Periodic solo releases by Cher continued during this period, including major successes with "Bang Bang (My Baby Shot Me Down)", and Burt Bacharach & Hal David's theme from "Alfie" (as heard in the motion picture Alfie, as well as a single release), both in 1966. They sided with the young people being harassed on the Sunset Strip during the Sunset Strip curfew riots; they were removed from their promised position of honor in the Tournament of Roses Parade in January 1967. 1967–1969: Career woes In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" ( 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100). In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking, glamorous singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity (named after Cher's movie), born on March 4, 1969. 1970–1977: TV success and divorce In 1970, Sonny and Cher starred in their first television special, The Nitty Gritty Hour, a mixture of slapstick comedy, skits, and live music. The appearance was a critical success, which led to numerous guest spots on other television shows. They also appeared in The New Scooby-Doo Movies as guest stars. Sonny and Cher caught the eye of CBS head of programming Fred Silverman while guest-hosting The Merv Griffin Show, and Silverman offered the duo their own variety show. The Sonny and Cher Comedy Hour debuted in 1971 as a summer replacement series. The show returned to prime time later that year and was an immediate hit, quickly reaching the Top 10. The show received 15 Emmy Award nominations during its run, winning one for direction, throughout its initial four seasons on CBS. The duo also revived their recording career, releasing the album All I Ever Need Is You, and charting two more top ten hits: "All I Ever Need Is You", and "A Cowboy's Work Is Never Done" in 1972. Sonny and Cher's dialogues were patterned after the successful nightclub routines of Louis Prima and Keely Smith: the happy-go-lucky husband squelched by a tart remark from the unamused wife. The show featured a stock company of zany comedians, including Teri Garr, Freeman King, Ted Ziegler, Billy Van and Murray Langston (later The Unknown Comic on The Gong Show). One sketch satirizing CBS's detective show Cannon and its portly star William Conrad was so successful that Sonny and Cher staged several follow-ups, with Tony Curtis as "Detective Fat". Everybody in these sketches wore wide-waisted "fat suits" (similar to hoop skirts), so Detective Fat and his clients and his suspects would spend most of the time bumping each other and bouncing across the crowded room. By the third season of the Sonny and Cher Comedy Hour, the marriage of Sonny and Cher was falling apart; the duo separated later that year. The show imploded, while still rating in the top 10. What followed was a very public divorce (finalized on June 26, 1975). Cher won a Golden Globe Award for Best Performance By an Actress in a Television Series – Musical or Comedy for The Sonny and Cher Comedy Hour in 1974. Bono launched his own show, The Sonny Comedy Revue, in the fall of 1974, retaining the "Sonny and Cher" troupe of comedians and writers. Cher also announced plans to star in a new variety series of her own. Critics predicted that Bono would be the big winner with a solo comedy vehicle, and held little hope for Cher's more musical showcase. After only six weeks, however, Bono's show was abruptly canceled. The Cher show debuted as an elaborate, all-star television special on February 16, 1975, featuring Flip Wilson, Bette Midler, and special guest Elton John. Cloris Leachman and Jack Albertson both won Emmy Awards for their appearances as guest-stars a few weeks later, and the series received four additional Emmy nominations that year. The first season ranked in the Top 25 of the year-end ratings. As a result of the divorce, Sonny and Cher went their separate ways until Cher attended the opening of one of Bono's restaurants in something of a reconciliation. The Sonny & Cher Show returned in 1976, even though they were no longer married (the duo "reunited" with a humorous handshake). After struggling with low ratings through 1977, Sonny and Cher finally parted ways for good. In 1976, Mego Toys also released a line of toys and dolls, in the likeness of Sonny & Cher. The release of these fashion dolls coincided with the popularity of The Sonny & Cher Show. 1978–1999: After Sonny and Cher Sonny Bono went on to an acting career and later entered politics, eventually becoming a member of the U.S. House of Representatives. Cher went on to become a Grammy Award-winning solo singer and an Academy Award-winning actress. The couple made two surprise impromptu reunion performances: the first on The Mike Douglas Show in the spring of 1979, singing a medley of "United We Stand" and "Without You", and the second on November 13, 1987, on Late Night with David Letterman where they performed their hit song "I Got You Babe"; it turned out to be the last time the two would perform together. In early 1999, And the Beat Goes On: The Sonny and Cher Story, directed by David Burton Morris and starring Jay Underwood and Renee Faia, was broadcast on ABC. The TV movie was based on the autobiography of Bono, and focuses on the relationship between the couple during the early 1960s to their divorce in the late 1970s. This movie was also nominated for two Emmy Awards. Bono's death, music copyright On January 5, 1998, Bono died of injuries from hitting a tree while skiing at Heavenly Ski Resort in Lake Tahoe. He was 62 years old. Bono's death came just days after Michael Kennedy died in a similar accident. Bono's widow, Mary, was selected to fill the remainder of his congressional term, and was re-elected in her own right, serving until she was defeated for re-election in 2012. She continues to champion many of her late husband's causes, including the ongoing fight as how to best save the Salton Sea. The funeral, unbeknownst to Cher, was broadcast live on CNN. She gave a tearful eulogy, after which the attendees sang the song "The Beat Goes On". In front of millions, Cher tearfully and effusively praised Bono, calling him "the most unforgettable character I've ever met". His final resting place is Desert Memorial Park in nearby Cathedral City, California, the same cemetery in which Frank Sinatra was laid to rest later that same year. The epitaph on Bono's headstone reads: "And The Beat Goes On". In 1998, Sonny and Cher received a star on the Hollywood Walk of Fame for Television. Cher appeared at the event with Mary Bono, who accepted the award on behalf of her late husband. Cher paid tribute to Bono in the CBS special Sonny and Me: Cher Remembers, calling her grief "something I never plan to get over". During the same year, Cher also released her twenty-second album Believe that was highly influenced by Bono's death, and in the booklet Cher wrote "In memory of Son". When Cher and Bono divorced, they agreed to split revenue from the songs recorded together. When Bono died, one-third of his interest passed to wife Mary Bono-Mack, and one-sixth interests were split amongst his children. Cher sued UMG in 2009, claiming she and Bono's heirs were owed $5,000,000 in "hidden" royalties. Legacy and achievements Author Joseph Murrells described Sonny & Cher as "part of the leading exponents of the rock-folk-message type of song, a hybrid combining the best and instrumentation of rock music with folk lyric and often lyrics of protest." The Sonny and Cher Comedy Hour received numerous Emmy nominations; Director Art Fisher won for Outstanding Directing for a Variety Series in 1972. Cher won a Golden Globe Award for Best Actress – Television Series Musical or Comedy in 1974. Sonny and Cher received the following honors: 1966: Grammy nomination for Best New Artist 1972: Grammy nomination for Best Pop Duo/Group Performance 1998: Received a star on the Hollywood Walk of Fame 2015: Ranked No. 18 on Rolling Stone's list of the 20 Greatest Duos of All Time Filmography Discography Look at Us (1965) The Wondrous World of Sonny & Chér (1966) In Case You're in Love (1967) All I Ever Need Is You (1972) Mama Was a Rock and Roll Singer, Papa Used to Write All Her Songs (1974) See also Cher Sonny Bono Supercouple List of number-one hits (United States) List of artists who reached number one on the Billboard Hot 100 References Notes Books Sonny And Cher - Thomas Braun (1978). And The Beat Goes On - Sonny Bono (1991). The First Time - Cher (1998). External links Behind the Making of Sonny & Cher: Complete Discography & Recording History to 1970 The Wondrous World of Sonny & Cher Information sites + American pop rock music groups American musical duos American pop music groups Atco Records artists Atlantic Records artists Cher Married couples MCA Records artists Musical groups established in 1964 Rock music duos Sonny Bono Male–female musical duos Reprise Records artists Warner Records artists

C_879d236d48394cb2b34e01e16d9ff3b4_1

Did they win any award or recognition at this time?

Did Sonny & Cher win any award or recognition when "The Beat Goes On" and "Little Man" at the time the singles charted?

Sonny & Cher

In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" (No. 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100), that peaked at the number one in five European countries. In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity Sun Bono, born on March 4, 1969. CANNOTANSWER

In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in.

Sonny & Cher were an American pop and entertainment duo in the 1960s and 1970s, made up of husband and wife Sonny Bono and Cher. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector. The pair first achieved fame with two hit songs in 1965, "Baby Don't Go" and "I Got You Babe". Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, "Chastity's Song (Band of Thieves)". In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label. In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple's career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide. Rolling Stone ranked them No. 18 on its list of the 20 Greatest Duos of All Time. Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny's death in a skiing accident. Career 1962–1964: The origin Cherilyn Sarkisian first met Salvatore Bono in a Los Angeles coffee shop in November 1962, when she was sixteen. Eleven years her senior, Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood. The two became best friends, eventual lovers, and were supposedly married in 1964, but Bono says in his autobiography that it was not an official marriage. They were legally wed after their only child, Chaz, was born. Through Bono, Cher started as a session singer, and sang backup on several of Spector's classic recordings, including "Be My Baby" by the Ronettes, "You've Lost That Loving Feeling" by The Righteous Brothers and Darlene Love's "A Fine, Fine Boy". In Darlene Love's recording, the listener can clearly hear Cher and Sonny close to the mic (along with Love, who recorded her own backing vocals). 1965–1966: Career development With Bono continuing to write, arrange and produce the songs, the couple's first incarnation was as the duo "Caesar and Cleo". They released some singles in 1964, including "The Letter", with Vault Records, and "The Letter", "Do You Wanna Dance" and "Love Is Strange", with Reprise Records. In September 1964, they released "Baby Don't Go" under the name of Sonny & Cher, which became their first regional hit. The song was later included on the 1965 Reprise compilation Baby Don't Go – Sonny & Cher and Friends, which also included songs from artists such as Bill Medley, The Lettermen and The Blendells. The duo released their first album Look at Us in the summer of 1965. The album contained the number one single "I Got You Babe". Look at Us peaked at number two on the Billboard chart for eight weeks in the later part of 1965. The couple appeared on many of the top television shows of the era including The Ed Sullivan Show, American Bandstand, Where The Action Is, Hollywood A Go-Go, Hollywood Palace, Hullabaloo, Beat Club, Shindig!, Ready Steady Go! and Top of the Pops. They also appeared as themselves in the film Wild on the Beach, singing "It's Gonna Rain". On their first album Bono also displayed his political interest long before running for Congress in the lyrics of the song, "The Revolution Kind". As the followup to the success of Look at Us, they released their second studio album in April 1966, The Wondrous World of Sonny & Chér, which peaked at number 34. The two dressed in animal skins with Bono wearing knee high caveman boots and Cher going barefoot. During 1965, five of their songs were in US Billboard Top 20, a record passed only by Elvis Presley and behind famous artists like The Beatles, The Rolling Stones and others. Periodic solo releases by Cher continued during this period, including major successes with "Bang Bang (My Baby Shot Me Down)", and Burt Bacharach & Hal David's theme from "Alfie" (as heard in the motion picture Alfie, as well as a single release), both in 1966. They sided with the young people being harassed on the Sunset Strip during the Sunset Strip curfew riots; they were removed from their promised position of honor in the Tournament of Roses Parade in January 1967. 1967–1969: Career woes In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" ( 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100). In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking, glamorous singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity (named after Cher's movie), born on March 4, 1969. 1970–1977: TV success and divorce In 1970, Sonny and Cher starred in their first television special, The Nitty Gritty Hour, a mixture of slapstick comedy, skits, and live music. The appearance was a critical success, which led to numerous guest spots on other television shows. They also appeared in The New Scooby-Doo Movies as guest stars. Sonny and Cher caught the eye of CBS head of programming Fred Silverman while guest-hosting The Merv Griffin Show, and Silverman offered the duo their own variety show. The Sonny and Cher Comedy Hour debuted in 1971 as a summer replacement series. The show returned to prime time later that year and was an immediate hit, quickly reaching the Top 10. The show received 15 Emmy Award nominations during its run, winning one for direction, throughout its initial four seasons on CBS. The duo also revived their recording career, releasing the album All I Ever Need Is You, and charting two more top ten hits: "All I Ever Need Is You", and "A Cowboy's Work Is Never Done" in 1972. Sonny and Cher's dialogues were patterned after the successful nightclub routines of Louis Prima and Keely Smith: the happy-go-lucky husband squelched by a tart remark from the unamused wife. The show featured a stock company of zany comedians, including Teri Garr, Freeman King, Ted Ziegler, Billy Van and Murray Langston (later The Unknown Comic on The Gong Show). One sketch satirizing CBS's detective show Cannon and its portly star William Conrad was so successful that Sonny and Cher staged several follow-ups, with Tony Curtis as "Detective Fat". Everybody in these sketches wore wide-waisted "fat suits" (similar to hoop skirts), so Detective Fat and his clients and his suspects would spend most of the time bumping each other and bouncing across the crowded room. By the third season of the Sonny and Cher Comedy Hour, the marriage of Sonny and Cher was falling apart; the duo separated later that year. The show imploded, while still rating in the top 10. What followed was a very public divorce (finalized on June 26, 1975). Cher won a Golden Globe Award for Best Performance By an Actress in a Television Series – Musical or Comedy for The Sonny and Cher Comedy Hour in 1974. Bono launched his own show, The Sonny Comedy Revue, in the fall of 1974, retaining the "Sonny and Cher" troupe of comedians and writers. Cher also announced plans to star in a new variety series of her own. Critics predicted that Bono would be the big winner with a solo comedy vehicle, and held little hope for Cher's more musical showcase. After only six weeks, however, Bono's show was abruptly canceled. The Cher show debuted as an elaborate, all-star television special on February 16, 1975, featuring Flip Wilson, Bette Midler, and special guest Elton John. Cloris Leachman and Jack Albertson both won Emmy Awards for their appearances as guest-stars a few weeks later, and the series received four additional Emmy nominations that year. The first season ranked in the Top 25 of the year-end ratings. As a result of the divorce, Sonny and Cher went their separate ways until Cher attended the opening of one of Bono's restaurants in something of a reconciliation. The Sonny & Cher Show returned in 1976, even though they were no longer married (the duo "reunited" with a humorous handshake). After struggling with low ratings through 1977, Sonny and Cher finally parted ways for good. In 1976, Mego Toys also released a line of toys and dolls, in the likeness of Sonny & Cher. The release of these fashion dolls coincided with the popularity of The Sonny & Cher Show. 1978–1999: After Sonny and Cher Sonny Bono went on to an acting career and later entered politics, eventually becoming a member of the U.S. House of Representatives. Cher went on to become a Grammy Award-winning solo singer and an Academy Award-winning actress. The couple made two surprise impromptu reunion performances: the first on The Mike Douglas Show in the spring of 1979, singing a medley of "United We Stand" and "Without You", and the second on November 13, 1987, on Late Night with David Letterman where they performed their hit song "I Got You Babe"; it turned out to be the last time the two would perform together. In early 1999, And the Beat Goes On: The Sonny and Cher Story, directed by David Burton Morris and starring Jay Underwood and Renee Faia, was broadcast on ABC. The TV movie was based on the autobiography of Bono, and focuses on the relationship between the couple during the early 1960s to their divorce in the late 1970s. This movie was also nominated for two Emmy Awards. Bono's death, music copyright On January 5, 1998, Bono died of injuries from hitting a tree while skiing at Heavenly Ski Resort in Lake Tahoe. He was 62 years old. Bono's death came just days after Michael Kennedy died in a similar accident. Bono's widow, Mary, was selected to fill the remainder of his congressional term, and was re-elected in her own right, serving until she was defeated for re-election in 2012. She continues to champion many of her late husband's causes, including the ongoing fight as how to best save the Salton Sea. The funeral, unbeknownst to Cher, was broadcast live on CNN. She gave a tearful eulogy, after which the attendees sang the song "The Beat Goes On". In front of millions, Cher tearfully and effusively praised Bono, calling him "the most unforgettable character I've ever met". His final resting place is Desert Memorial Park in nearby Cathedral City, California, the same cemetery in which Frank Sinatra was laid to rest later that same year. The epitaph on Bono's headstone reads: "And The Beat Goes On". In 1998, Sonny and Cher received a star on the Hollywood Walk of Fame for Television. Cher appeared at the event with Mary Bono, who accepted the award on behalf of her late husband. Cher paid tribute to Bono in the CBS special Sonny and Me: Cher Remembers, calling her grief "something I never plan to get over". During the same year, Cher also released her twenty-second album Believe that was highly influenced by Bono's death, and in the booklet Cher wrote "In memory of Son". When Cher and Bono divorced, they agreed to split revenue from the songs recorded together. When Bono died, one-third of his interest passed to wife Mary Bono-Mack, and one-sixth interests were split amongst his children. Cher sued UMG in 2009, claiming she and Bono's heirs were owed $5,000,000 in "hidden" royalties. Legacy and achievements Author Joseph Murrells described Sonny & Cher as "part of the leading exponents of the rock-folk-message type of song, a hybrid combining the best and instrumentation of rock music with folk lyric and often lyrics of protest." The Sonny and Cher Comedy Hour received numerous Emmy nominations; Director Art Fisher won for Outstanding Directing for a Variety Series in 1972. Cher won a Golden Globe Award for Best Actress – Television Series Musical or Comedy in 1974. Sonny and Cher received the following honors: 1966: Grammy nomination for Best New Artist 1972: Grammy nomination for Best Pop Duo/Group Performance 1998: Received a star on the Hollywood Walk of Fame 2015: Ranked No. 18 on Rolling Stone's list of the 20 Greatest Duos of All Time Filmography Discography Look at Us (1965) The Wondrous World of Sonny & Chér (1966) In Case You're in Love (1967) All I Ever Need Is You (1972) Mama Was a Rock and Roll Singer, Papa Used to Write All Her Songs (1974) See also Cher Sonny Bono Supercouple List of number-one hits (United States) List of artists who reached number one on the Billboard Hot 100 References Notes Books Sonny And Cher - Thomas Braun (1978). And The Beat Goes On - Sonny Bono (1991). The First Time - Cher (1998). External links Behind the Making of Sonny & Cher: Complete Discography & Recording History to 1970 The Wondrous World of Sonny & Cher Information sites + American pop rock music groups American musical duos American pop music groups Atco Records artists Atlantic Records artists Cher Married couples MCA Records artists Musical groups established in 1964 Rock music duos Sonny Bono Male–female musical duos Reprise Records artists Warner Records artists

C_879d236d48394cb2b34e01e16d9ff3b4_1

Was the film project a success?

Was Sonny & Cher's film project a success?

Sonny & Cher

In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" (No. 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100), that peaked at the number one in five European countries. In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity Sun Bono, born on March 4, 1969. CANNOTANSWER

the 1967 feature, Good Times, was a major bomb,

Sonny & Cher were an American pop and entertainment duo in the 1960s and 1970s, made up of husband and wife Sonny Bono and Cher. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector. The pair first achieved fame with two hit songs in 1965, "Baby Don't Go" and "I Got You Babe". Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, "Chastity's Song (Band of Thieves)". In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label. In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple's career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide. Rolling Stone ranked them No. 18 on its list of the 20 Greatest Duos of All Time. Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny's death in a skiing accident. Career 1962–1964: The origin Cherilyn Sarkisian first met Salvatore Bono in a Los Angeles coffee shop in November 1962, when she was sixteen. Eleven years her senior, Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood. The two became best friends, eventual lovers, and were supposedly married in 1964, but Bono says in his autobiography that it was not an official marriage. They were legally wed after their only child, Chaz, was born. Through Bono, Cher started as a session singer, and sang backup on several of Spector's classic recordings, including "Be My Baby" by the Ronettes, "You've Lost That Loving Feeling" by The Righteous Brothers and Darlene Love's "A Fine, Fine Boy". In Darlene Love's recording, the listener can clearly hear Cher and Sonny close to the mic (along with Love, who recorded her own backing vocals). 1965–1966: Career development With Bono continuing to write, arrange and produce the songs, the couple's first incarnation was as the duo "Caesar and Cleo". They released some singles in 1964, including "The Letter", with Vault Records, and "The Letter", "Do You Wanna Dance" and "Love Is Strange", with Reprise Records. In September 1964, they released "Baby Don't Go" under the name of Sonny & Cher, which became their first regional hit. The song was later included on the 1965 Reprise compilation Baby Don't Go – Sonny & Cher and Friends, which also included songs from artists such as Bill Medley, The Lettermen and The Blendells. The duo released their first album Look at Us in the summer of 1965. The album contained the number one single "I Got You Babe". Look at Us peaked at number two on the Billboard chart for eight weeks in the later part of 1965. The couple appeared on many of the top television shows of the era including The Ed Sullivan Show, American Bandstand, Where The Action Is, Hollywood A Go-Go, Hollywood Palace, Hullabaloo, Beat Club, Shindig!, Ready Steady Go! and Top of the Pops. They also appeared as themselves in the film Wild on the Beach, singing "It's Gonna Rain". On their first album Bono also displayed his political interest long before running for Congress in the lyrics of the song, "The Revolution Kind". As the followup to the success of Look at Us, they released their second studio album in April 1966, The Wondrous World of Sonny & Chér, which peaked at number 34. The two dressed in animal skins with Bono wearing knee high caveman boots and Cher going barefoot. During 1965, five of their songs were in US Billboard Top 20, a record passed only by Elvis Presley and behind famous artists like The Beatles, The Rolling Stones and others. Periodic solo releases by Cher continued during this period, including major successes with "Bang Bang (My Baby Shot Me Down)", and Burt Bacharach & Hal David's theme from "Alfie" (as heard in the motion picture Alfie, as well as a single release), both in 1966. They sided with the young people being harassed on the Sunset Strip during the Sunset Strip curfew riots; they were removed from their promised position of honor in the Tournament of Roses Parade in January 1967. 1967–1969: Career woes In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" ( 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100). In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking, glamorous singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity (named after Cher's movie), born on March 4, 1969. 1970–1977: TV success and divorce In 1970, Sonny and Cher starred in their first television special, The Nitty Gritty Hour, a mixture of slapstick comedy, skits, and live music. The appearance was a critical success, which led to numerous guest spots on other television shows. They also appeared in The New Scooby-Doo Movies as guest stars. Sonny and Cher caught the eye of CBS head of programming Fred Silverman while guest-hosting The Merv Griffin Show, and Silverman offered the duo their own variety show. The Sonny and Cher Comedy Hour debuted in 1971 as a summer replacement series. The show returned to prime time later that year and was an immediate hit, quickly reaching the Top 10. The show received 15 Emmy Award nominations during its run, winning one for direction, throughout its initial four seasons on CBS. The duo also revived their recording career, releasing the album All I Ever Need Is You, and charting two more top ten hits: "All I Ever Need Is You", and "A Cowboy's Work Is Never Done" in 1972. Sonny and Cher's dialogues were patterned after the successful nightclub routines of Louis Prima and Keely Smith: the happy-go-lucky husband squelched by a tart remark from the unamused wife. The show featured a stock company of zany comedians, including Teri Garr, Freeman King, Ted Ziegler, Billy Van and Murray Langston (later The Unknown Comic on The Gong Show). One sketch satirizing CBS's detective show Cannon and its portly star William Conrad was so successful that Sonny and Cher staged several follow-ups, with Tony Curtis as "Detective Fat". Everybody in these sketches wore wide-waisted "fat suits" (similar to hoop skirts), so Detective Fat and his clients and his suspects would spend most of the time bumping each other and bouncing across the crowded room. By the third season of the Sonny and Cher Comedy Hour, the marriage of Sonny and Cher was falling apart; the duo separated later that year. The show imploded, while still rating in the top 10. What followed was a very public divorce (finalized on June 26, 1975). Cher won a Golden Globe Award for Best Performance By an Actress in a Television Series – Musical or Comedy for The Sonny and Cher Comedy Hour in 1974. Bono launched his own show, The Sonny Comedy Revue, in the fall of 1974, retaining the "Sonny and Cher" troupe of comedians and writers. Cher also announced plans to star in a new variety series of her own. Critics predicted that Bono would be the big winner with a solo comedy vehicle, and held little hope for Cher's more musical showcase. After only six weeks, however, Bono's show was abruptly canceled. The Cher show debuted as an elaborate, all-star television special on February 16, 1975, featuring Flip Wilson, Bette Midler, and special guest Elton John. Cloris Leachman and Jack Albertson both won Emmy Awards for their appearances as guest-stars a few weeks later, and the series received four additional Emmy nominations that year. The first season ranked in the Top 25 of the year-end ratings. As a result of the divorce, Sonny and Cher went their separate ways until Cher attended the opening of one of Bono's restaurants in something of a reconciliation. The Sonny & Cher Show returned in 1976, even though they were no longer married (the duo "reunited" with a humorous handshake). After struggling with low ratings through 1977, Sonny and Cher finally parted ways for good. In 1976, Mego Toys also released a line of toys and dolls, in the likeness of Sonny & Cher. The release of these fashion dolls coincided with the popularity of The Sonny & Cher Show. 1978–1999: After Sonny and Cher Sonny Bono went on to an acting career and later entered politics, eventually becoming a member of the U.S. House of Representatives. Cher went on to become a Grammy Award-winning solo singer and an Academy Award-winning actress. The couple made two surprise impromptu reunion performances: the first on The Mike Douglas Show in the spring of 1979, singing a medley of "United We Stand" and "Without You", and the second on November 13, 1987, on Late Night with David Letterman where they performed their hit song "I Got You Babe"; it turned out to be the last time the two would perform together. In early 1999, And the Beat Goes On: The Sonny and Cher Story, directed by David Burton Morris and starring Jay Underwood and Renee Faia, was broadcast on ABC. The TV movie was based on the autobiography of Bono, and focuses on the relationship between the couple during the early 1960s to their divorce in the late 1970s. This movie was also nominated for two Emmy Awards. Bono's death, music copyright On January 5, 1998, Bono died of injuries from hitting a tree while skiing at Heavenly Ski Resort in Lake Tahoe. He was 62 years old. Bono's death came just days after Michael Kennedy died in a similar accident. Bono's widow, Mary, was selected to fill the remainder of his congressional term, and was re-elected in her own right, serving until she was defeated for re-election in 2012. She continues to champion many of her late husband's causes, including the ongoing fight as how to best save the Salton Sea. The funeral, unbeknownst to Cher, was broadcast live on CNN. She gave a tearful eulogy, after which the attendees sang the song "The Beat Goes On". In front of millions, Cher tearfully and effusively praised Bono, calling him "the most unforgettable character I've ever met". His final resting place is Desert Memorial Park in nearby Cathedral City, California, the same cemetery in which Frank Sinatra was laid to rest later that same year. The epitaph on Bono's headstone reads: "And The Beat Goes On". In 1998, Sonny and Cher received a star on the Hollywood Walk of Fame for Television. Cher appeared at the event with Mary Bono, who accepted the award on behalf of her late husband. Cher paid tribute to Bono in the CBS special Sonny and Me: Cher Remembers, calling her grief "something I never plan to get over". During the same year, Cher also released her twenty-second album Believe that was highly influenced by Bono's death, and in the booklet Cher wrote "In memory of Son". When Cher and Bono divorced, they agreed to split revenue from the songs recorded together. When Bono died, one-third of his interest passed to wife Mary Bono-Mack, and one-sixth interests were split amongst his children. Cher sued UMG in 2009, claiming she and Bono's heirs were owed $5,000,000 in "hidden" royalties. Legacy and achievements Author Joseph Murrells described Sonny & Cher as "part of the leading exponents of the rock-folk-message type of song, a hybrid combining the best and instrumentation of rock music with folk lyric and often lyrics of protest." The Sonny and Cher Comedy Hour received numerous Emmy nominations; Director Art Fisher won for Outstanding Directing for a Variety Series in 1972. Cher won a Golden Globe Award for Best Actress – Television Series Musical or Comedy in 1974. Sonny and Cher received the following honors: 1966: Grammy nomination for Best New Artist 1972: Grammy nomination for Best Pop Duo/Group Performance 1998: Received a star on the Hollywood Walk of Fame 2015: Ranked No. 18 on Rolling Stone's list of the 20 Greatest Duos of All Time Filmography Discography Look at Us (1965) The Wondrous World of Sonny & Chér (1966) In Case You're in Love (1967) All I Ever Need Is You (1972) Mama Was a Rock and Roll Singer, Papa Used to Write All Her Songs (1974) See also Cher Sonny Bono Supercouple List of number-one hits (United States) List of artists who reached number one on the Billboard Hot 100 References Notes Books Sonny And Cher - Thomas Braun (1978). And The Beat Goes On - Sonny Bono (1991). The First Time - Cher (1998). External links Behind the Making of Sonny & Cher: Complete Discography & Recording History to 1970 The Wondrous World of Sonny & Cher Information sites + American pop rock music groups American musical duos American pop music groups Atco Records artists Atlantic Records artists Cher Married couples MCA Records artists Musical groups established in 1964 Rock music duos Sonny Bono Male–female musical duos Reprise Records artists Warner Records artists

C_879d236d48394cb2b34e01e16d9ff3b4_1

What happened when the project failed?

What happened when the "Good Times" film project failed?

Sonny & Cher

In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" (No. 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100), that peaked at the number one in five European countries. In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity Sun Bono, born on March 4, 1969. CANNOTANSWER

After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM.

Sonny & Cher were an American pop and entertainment duo in the 1960s and 1970s, made up of husband and wife Sonny Bono and Cher. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector. The pair first achieved fame with two hit songs in 1965, "Baby Don't Go" and "I Got You Babe". Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, "Chastity's Song (Band of Thieves)". In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label. In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple's career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide. Rolling Stone ranked them No. 18 on its list of the 20 Greatest Duos of All Time. Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny's death in a skiing accident. Career 1962–1964: The origin Cherilyn Sarkisian first met Salvatore Bono in a Los Angeles coffee shop in November 1962, when she was sixteen. Eleven years her senior, Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood. The two became best friends, eventual lovers, and were supposedly married in 1964, but Bono says in his autobiography that it was not an official marriage. They were legally wed after their only child, Chaz, was born. Through Bono, Cher started as a session singer, and sang backup on several of Spector's classic recordings, including "Be My Baby" by the Ronettes, "You've Lost That Loving Feeling" by The Righteous Brothers and Darlene Love's "A Fine, Fine Boy". In Darlene Love's recording, the listener can clearly hear Cher and Sonny close to the mic (along with Love, who recorded her own backing vocals). 1965–1966: Career development With Bono continuing to write, arrange and produce the songs, the couple's first incarnation was as the duo "Caesar and Cleo". They released some singles in 1964, including "The Letter", with Vault Records, and "The Letter", "Do You Wanna Dance" and "Love Is Strange", with Reprise Records. In September 1964, they released "Baby Don't Go" under the name of Sonny & Cher, which became their first regional hit. The song was later included on the 1965 Reprise compilation Baby Don't Go – Sonny & Cher and Friends, which also included songs from artists such as Bill Medley, The Lettermen and The Blendells. The duo released their first album Look at Us in the summer of 1965. The album contained the number one single "I Got You Babe". Look at Us peaked at number two on the Billboard chart for eight weeks in the later part of 1965. The couple appeared on many of the top television shows of the era including The Ed Sullivan Show, American Bandstand, Where The Action Is, Hollywood A Go-Go, Hollywood Palace, Hullabaloo, Beat Club, Shindig!, Ready Steady Go! and Top of the Pops. They also appeared as themselves in the film Wild on the Beach, singing "It's Gonna Rain". On their first album Bono also displayed his political interest long before running for Congress in the lyrics of the song, "The Revolution Kind". As the followup to the success of Look at Us, they released their second studio album in April 1966, The Wondrous World of Sonny & Chér, which peaked at number 34. The two dressed in animal skins with Bono wearing knee high caveman boots and Cher going barefoot. During 1965, five of their songs were in US Billboard Top 20, a record passed only by Elvis Presley and behind famous artists like The Beatles, The Rolling Stones and others. Periodic solo releases by Cher continued during this period, including major successes with "Bang Bang (My Baby Shot Me Down)", and Burt Bacharach & Hal David's theme from "Alfie" (as heard in the motion picture Alfie, as well as a single release), both in 1966. They sided with the young people being harassed on the Sunset Strip during the Sunset Strip curfew riots; they were removed from their promised position of honor in the Tournament of Roses Parade in January 1967. 1967–1969: Career woes In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" ( 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100). In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking, glamorous singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity (named after Cher's movie), born on March 4, 1969. 1970–1977: TV success and divorce In 1970, Sonny and Cher starred in their first television special, The Nitty Gritty Hour, a mixture of slapstick comedy, skits, and live music. The appearance was a critical success, which led to numerous guest spots on other television shows. They also appeared in The New Scooby-Doo Movies as guest stars. Sonny and Cher caught the eye of CBS head of programming Fred Silverman while guest-hosting The Merv Griffin Show, and Silverman offered the duo their own variety show. The Sonny and Cher Comedy Hour debuted in 1971 as a summer replacement series. The show returned to prime time later that year and was an immediate hit, quickly reaching the Top 10. The show received 15 Emmy Award nominations during its run, winning one for direction, throughout its initial four seasons on CBS. The duo also revived their recording career, releasing the album All I Ever Need Is You, and charting two more top ten hits: "All I Ever Need Is You", and "A Cowboy's Work Is Never Done" in 1972. Sonny and Cher's dialogues were patterned after the successful nightclub routines of Louis Prima and Keely Smith: the happy-go-lucky husband squelched by a tart remark from the unamused wife. The show featured a stock company of zany comedians, including Teri Garr, Freeman King, Ted Ziegler, Billy Van and Murray Langston (later The Unknown Comic on The Gong Show). One sketch satirizing CBS's detective show Cannon and its portly star William Conrad was so successful that Sonny and Cher staged several follow-ups, with Tony Curtis as "Detective Fat". Everybody in these sketches wore wide-waisted "fat suits" (similar to hoop skirts), so Detective Fat and his clients and his suspects would spend most of the time bumping each other and bouncing across the crowded room. By the third season of the Sonny and Cher Comedy Hour, the marriage of Sonny and Cher was falling apart; the duo separated later that year. The show imploded, while still rating in the top 10. What followed was a very public divorce (finalized on June 26, 1975). Cher won a Golden Globe Award for Best Performance By an Actress in a Television Series – Musical or Comedy for The Sonny and Cher Comedy Hour in 1974. Bono launched his own show, The Sonny Comedy Revue, in the fall of 1974, retaining the "Sonny and Cher" troupe of comedians and writers. Cher also announced plans to star in a new variety series of her own. Critics predicted that Bono would be the big winner with a solo comedy vehicle, and held little hope for Cher's more musical showcase. After only six weeks, however, Bono's show was abruptly canceled. The Cher show debuted as an elaborate, all-star television special on February 16, 1975, featuring Flip Wilson, Bette Midler, and special guest Elton John. Cloris Leachman and Jack Albertson both won Emmy Awards for their appearances as guest-stars a few weeks later, and the series received four additional Emmy nominations that year. The first season ranked in the Top 25 of the year-end ratings. As a result of the divorce, Sonny and Cher went their separate ways until Cher attended the opening of one of Bono's restaurants in something of a reconciliation. The Sonny & Cher Show returned in 1976, even though they were no longer married (the duo "reunited" with a humorous handshake). After struggling with low ratings through 1977, Sonny and Cher finally parted ways for good. In 1976, Mego Toys also released a line of toys and dolls, in the likeness of Sonny & Cher. The release of these fashion dolls coincided with the popularity of The Sonny & Cher Show. 1978–1999: After Sonny and Cher Sonny Bono went on to an acting career and later entered politics, eventually becoming a member of the U.S. House of Representatives. Cher went on to become a Grammy Award-winning solo singer and an Academy Award-winning actress. The couple made two surprise impromptu reunion performances: the first on The Mike Douglas Show in the spring of 1979, singing a medley of "United We Stand" and "Without You", and the second on November 13, 1987, on Late Night with David Letterman where they performed their hit song "I Got You Babe"; it turned out to be the last time the two would perform together. In early 1999, And the Beat Goes On: The Sonny and Cher Story, directed by David Burton Morris and starring Jay Underwood and Renee Faia, was broadcast on ABC. The TV movie was based on the autobiography of Bono, and focuses on the relationship between the couple during the early 1960s to their divorce in the late 1970s. This movie was also nominated for two Emmy Awards. Bono's death, music copyright On January 5, 1998, Bono died of injuries from hitting a tree while skiing at Heavenly Ski Resort in Lake Tahoe. He was 62 years old. Bono's death came just days after Michael Kennedy died in a similar accident. Bono's widow, Mary, was selected to fill the remainder of his congressional term, and was re-elected in her own right, serving until she was defeated for re-election in 2012. She continues to champion many of her late husband's causes, including the ongoing fight as how to best save the Salton Sea. The funeral, unbeknownst to Cher, was broadcast live on CNN. She gave a tearful eulogy, after which the attendees sang the song "The Beat Goes On". In front of millions, Cher tearfully and effusively praised Bono, calling him "the most unforgettable character I've ever met". His final resting place is Desert Memorial Park in nearby Cathedral City, California, the same cemetery in which Frank Sinatra was laid to rest later that same year. The epitaph on Bono's headstone reads: "And The Beat Goes On". In 1998, Sonny and Cher received a star on the Hollywood Walk of Fame for Television. Cher appeared at the event with Mary Bono, who accepted the award on behalf of her late husband. Cher paid tribute to Bono in the CBS special Sonny and Me: Cher Remembers, calling her grief "something I never plan to get over". During the same year, Cher also released her twenty-second album Believe that was highly influenced by Bono's death, and in the booklet Cher wrote "In memory of Son". When Cher and Bono divorced, they agreed to split revenue from the songs recorded together. When Bono died, one-third of his interest passed to wife Mary Bono-Mack, and one-sixth interests were split amongst his children. Cher sued UMG in 2009, claiming she and Bono's heirs were owed $5,000,000 in "hidden" royalties. Legacy and achievements Author Joseph Murrells described Sonny & Cher as "part of the leading exponents of the rock-folk-message type of song, a hybrid combining the best and instrumentation of rock music with folk lyric and often lyrics of protest." The Sonny and Cher Comedy Hour received numerous Emmy nominations; Director Art Fisher won for Outstanding Directing for a Variety Series in 1972. Cher won a Golden Globe Award for Best Actress – Television Series Musical or Comedy in 1974. Sonny and Cher received the following honors: 1966: Grammy nomination for Best New Artist 1972: Grammy nomination for Best Pop Duo/Group Performance 1998: Received a star on the Hollywood Walk of Fame 2015: Ranked No. 18 on Rolling Stone's list of the 20 Greatest Duos of All Time Filmography Discography Look at Us (1965) The Wondrous World of Sonny & Chér (1966) In Case You're in Love (1967) All I Ever Need Is You (1972) Mama Was a Rock and Roll Singer, Papa Used to Write All Her Songs (1974) See also Cher Sonny Bono Supercouple List of number-one hits (United States) List of artists who reached number one on the Billboard Hot 100 References Notes Books Sonny And Cher - Thomas Braun (1978). And The Beat Goes On - Sonny Bono (1991). The First Time - Cher (1998). External links Behind the Making of Sonny & Cher: Complete Discography & Recording History to 1970 The Wondrous World of Sonny & Cher Information sites + American pop rock music groups American musical duos American pop music groups Atco Records artists Atlantic Records artists Cher Married couples MCA Records artists Musical groups established in 1964 Rock music duos Sonny Bono Male–female musical duos Reprise Records artists Warner Records artists

C_879d236d48394cb2b34e01e16d9ff3b4_1

Are there any other interesting aspects about this article?

Other than Sonny & Cher's hit songs and film debut, are there any other interesting aspects about this article?

Sonny & Cher

In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" (No. 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100), that peaked at the number one in five European countries. In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity Sun Bono, born on March 4, 1969. CANNOTANSWER

Sonny and Cher also welcomed their first child, Chastity Sun Bono, born on March 4, 1969.

Sonny & Cher were an American pop and entertainment duo in the 1960s and 1970s, made up of husband and wife Sonny Bono and Cher. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector. The pair first achieved fame with two hit songs in 1965, "Baby Don't Go" and "I Got You Babe". Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, "Chastity's Song (Band of Thieves)". In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label. In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple's career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide. Rolling Stone ranked them No. 18 on its list of the 20 Greatest Duos of All Time. Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny's death in a skiing accident. Career 1962–1964: The origin Cherilyn Sarkisian first met Salvatore Bono in a Los Angeles coffee shop in November 1962, when she was sixteen. Eleven years her senior, Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood. The two became best friends, eventual lovers, and were supposedly married in 1964, but Bono says in his autobiography that it was not an official marriage. They were legally wed after their only child, Chaz, was born. Through Bono, Cher started as a session singer, and sang backup on several of Spector's classic recordings, including "Be My Baby" by the Ronettes, "You've Lost That Loving Feeling" by The Righteous Brothers and Darlene Love's "A Fine, Fine Boy". In Darlene Love's recording, the listener can clearly hear Cher and Sonny close to the mic (along with Love, who recorded her own backing vocals). 1965–1966: Career development With Bono continuing to write, arrange and produce the songs, the couple's first incarnation was as the duo "Caesar and Cleo". They released some singles in 1964, including "The Letter", with Vault Records, and "The Letter", "Do You Wanna Dance" and "Love Is Strange", with Reprise Records. In September 1964, they released "Baby Don't Go" under the name of Sonny & Cher, which became their first regional hit. The song was later included on the 1965 Reprise compilation Baby Don't Go – Sonny & Cher and Friends, which also included songs from artists such as Bill Medley, The Lettermen and The Blendells. The duo released their first album Look at Us in the summer of 1965. The album contained the number one single "I Got You Babe". Look at Us peaked at number two on the Billboard chart for eight weeks in the later part of 1965. The couple appeared on many of the top television shows of the era including The Ed Sullivan Show, American Bandstand, Where The Action Is, Hollywood A Go-Go, Hollywood Palace, Hullabaloo, Beat Club, Shindig!, Ready Steady Go! and Top of the Pops. They also appeared as themselves in the film Wild on the Beach, singing "It's Gonna Rain". On their first album Bono also displayed his political interest long before running for Congress in the lyrics of the song, "The Revolution Kind". As the followup to the success of Look at Us, they released their second studio album in April 1966, The Wondrous World of Sonny & Chér, which peaked at number 34. The two dressed in animal skins with Bono wearing knee high caveman boots and Cher going barefoot. During 1965, five of their songs were in US Billboard Top 20, a record passed only by Elvis Presley and behind famous artists like The Beatles, The Rolling Stones and others. Periodic solo releases by Cher continued during this period, including major successes with "Bang Bang (My Baby Shot Me Down)", and Burt Bacharach & Hal David's theme from "Alfie" (as heard in the motion picture Alfie, as well as a single release), both in 1966. They sided with the young people being harassed on the Sunset Strip during the Sunset Strip curfew riots; they were removed from their promised position of honor in the Tournament of Roses Parade in January 1967. 1967–1969: Career woes In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" ( 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100). In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking, glamorous singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity (named after Cher's movie), born on March 4, 1969. 1970–1977: TV success and divorce In 1970, Sonny and Cher starred in their first television special, The Nitty Gritty Hour, a mixture of slapstick comedy, skits, and live music. The appearance was a critical success, which led to numerous guest spots on other television shows. They also appeared in The New Scooby-Doo Movies as guest stars. Sonny and Cher caught the eye of CBS head of programming Fred Silverman while guest-hosting The Merv Griffin Show, and Silverman offered the duo their own variety show. The Sonny and Cher Comedy Hour debuted in 1971 as a summer replacement series. The show returned to prime time later that year and was an immediate hit, quickly reaching the Top 10. The show received 15 Emmy Award nominations during its run, winning one for direction, throughout its initial four seasons on CBS. The duo also revived their recording career, releasing the album All I Ever Need Is You, and charting two more top ten hits: "All I Ever Need Is You", and "A Cowboy's Work Is Never Done" in 1972. Sonny and Cher's dialogues were patterned after the successful nightclub routines of Louis Prima and Keely Smith: the happy-go-lucky husband squelched by a tart remark from the unamused wife. The show featured a stock company of zany comedians, including Teri Garr, Freeman King, Ted Ziegler, Billy Van and Murray Langston (later The Unknown Comic on The Gong Show). One sketch satirizing CBS's detective show Cannon and its portly star William Conrad was so successful that Sonny and Cher staged several follow-ups, with Tony Curtis as "Detective Fat". Everybody in these sketches wore wide-waisted "fat suits" (similar to hoop skirts), so Detective Fat and his clients and his suspects would spend most of the time bumping each other and bouncing across the crowded room. By the third season of the Sonny and Cher Comedy Hour, the marriage of Sonny and Cher was falling apart; the duo separated later that year. The show imploded, while still rating in the top 10. What followed was a very public divorce (finalized on June 26, 1975). Cher won a Golden Globe Award for Best Performance By an Actress in a Television Series – Musical or Comedy for The Sonny and Cher Comedy Hour in 1974. Bono launched his own show, The Sonny Comedy Revue, in the fall of 1974, retaining the "Sonny and Cher" troupe of comedians and writers. Cher also announced plans to star in a new variety series of her own. Critics predicted that Bono would be the big winner with a solo comedy vehicle, and held little hope for Cher's more musical showcase. After only six weeks, however, Bono's show was abruptly canceled. The Cher show debuted as an elaborate, all-star television special on February 16, 1975, featuring Flip Wilson, Bette Midler, and special guest Elton John. Cloris Leachman and Jack Albertson both won Emmy Awards for their appearances as guest-stars a few weeks later, and the series received four additional Emmy nominations that year. The first season ranked in the Top 25 of the year-end ratings. As a result of the divorce, Sonny and Cher went their separate ways until Cher attended the opening of one of Bono's restaurants in something of a reconciliation. The Sonny & Cher Show returned in 1976, even though they were no longer married (the duo "reunited" with a humorous handshake). After struggling with low ratings through 1977, Sonny and Cher finally parted ways for good. In 1976, Mego Toys also released a line of toys and dolls, in the likeness of Sonny & Cher. The release of these fashion dolls coincided with the popularity of The Sonny & Cher Show. 1978–1999: After Sonny and Cher Sonny Bono went on to an acting career and later entered politics, eventually becoming a member of the U.S. House of Representatives. Cher went on to become a Grammy Award-winning solo singer and an Academy Award-winning actress. The couple made two surprise impromptu reunion performances: the first on The Mike Douglas Show in the spring of 1979, singing a medley of "United We Stand" and "Without You", and the second on November 13, 1987, on Late Night with David Letterman where they performed their hit song "I Got You Babe"; it turned out to be the last time the two would perform together. In early 1999, And the Beat Goes On: The Sonny and Cher Story, directed by David Burton Morris and starring Jay Underwood and Renee Faia, was broadcast on ABC. The TV movie was based on the autobiography of Bono, and focuses on the relationship between the couple during the early 1960s to their divorce in the late 1970s. This movie was also nominated for two Emmy Awards. Bono's death, music copyright On January 5, 1998, Bono died of injuries from hitting a tree while skiing at Heavenly Ski Resort in Lake Tahoe. He was 62 years old. Bono's death came just days after Michael Kennedy died in a similar accident. Bono's widow, Mary, was selected to fill the remainder of his congressional term, and was re-elected in her own right, serving until she was defeated for re-election in 2012. She continues to champion many of her late husband's causes, including the ongoing fight as how to best save the Salton Sea. The funeral, unbeknownst to Cher, was broadcast live on CNN. She gave a tearful eulogy, after which the attendees sang the song "The Beat Goes On". In front of millions, Cher tearfully and effusively praised Bono, calling him "the most unforgettable character I've ever met". His final resting place is Desert Memorial Park in nearby Cathedral City, California, the same cemetery in which Frank Sinatra was laid to rest later that same year. The epitaph on Bono's headstone reads: "And The Beat Goes On". In 1998, Sonny and Cher received a star on the Hollywood Walk of Fame for Television. Cher appeared at the event with Mary Bono, who accepted the award on behalf of her late husband. Cher paid tribute to Bono in the CBS special Sonny and Me: Cher Remembers, calling her grief "something I never plan to get over". During the same year, Cher also released her twenty-second album Believe that was highly influenced by Bono's death, and in the booklet Cher wrote "In memory of Son". When Cher and Bono divorced, they agreed to split revenue from the songs recorded together. When Bono died, one-third of his interest passed to wife Mary Bono-Mack, and one-sixth interests were split amongst his children. Cher sued UMG in 2009, claiming she and Bono's heirs were owed $5,000,000 in "hidden" royalties. Legacy and achievements Author Joseph Murrells described Sonny & Cher as "part of the leading exponents of the rock-folk-message type of song, a hybrid combining the best and instrumentation of rock music with folk lyric and often lyrics of protest." The Sonny and Cher Comedy Hour received numerous Emmy nominations; Director Art Fisher won for Outstanding Directing for a Variety Series in 1972. Cher won a Golden Globe Award for Best Actress – Television Series Musical or Comedy in 1974. Sonny and Cher received the following honors: 1966: Grammy nomination for Best New Artist 1972: Grammy nomination for Best Pop Duo/Group Performance 1998: Received a star on the Hollywood Walk of Fame 2015: Ranked No. 18 on Rolling Stone's list of the 20 Greatest Duos of All Time Filmography Discography Look at Us (1965) The Wondrous World of Sonny & Chér (1966) In Case You're in Love (1967) All I Ever Need Is You (1972) Mama Was a Rock and Roll Singer, Papa Used to Write All Her Songs (1974) See also Cher Sonny Bono Supercouple List of number-one hits (United States) List of artists who reached number one on the Billboard Hot 100 References Notes Books Sonny And Cher - Thomas Braun (1978). And The Beat Goes On - Sonny Bono (1991). The First Time - Cher (1998). External links Behind the Making of Sonny & Cher: Complete Discography & Recording History to 1970 The Wondrous World of Sonny & Cher Information sites + American pop rock music groups American musical duos American pop music groups Atco Records artists Atlantic Records artists Cher Married couples MCA Records artists Musical groups established in 1964 Rock music duos Sonny Bono Male–female musical duos Reprise Records artists Warner Records artists

C_879d236d48394cb2b34e01e16d9ff3b4_1

What other things did he attempt during his career?

Aside from Sonny & Cher's film debut, what other things did Sonny attempt during his career?

Sonny & Cher

In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" (No. 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100), that peaked at the number one in five European countries. In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity Sun Bono, born on March 4, 1969. CANNOTANSWER

Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts,

Sonny & Cher were an American pop and entertainment duo in the 1960s and 1970s, made up of husband and wife Sonny Bono and Cher. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector. The pair first achieved fame with two hit songs in 1965, "Baby Don't Go" and "I Got You Babe". Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, "Chastity's Song (Band of Thieves)". In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label. In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple's career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide. Rolling Stone ranked them No. 18 on its list of the 20 Greatest Duos of All Time. Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny's death in a skiing accident. Career 1962–1964: The origin Cherilyn Sarkisian first met Salvatore Bono in a Los Angeles coffee shop in November 1962, when she was sixteen. Eleven years her senior, Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood. The two became best friends, eventual lovers, and were supposedly married in 1964, but Bono says in his autobiography that it was not an official marriage. They were legally wed after their only child, Chaz, was born. Through Bono, Cher started as a session singer, and sang backup on several of Spector's classic recordings, including "Be My Baby" by the Ronettes, "You've Lost That Loving Feeling" by The Righteous Brothers and Darlene Love's "A Fine, Fine Boy". In Darlene Love's recording, the listener can clearly hear Cher and Sonny close to the mic (along with Love, who recorded her own backing vocals). 1965–1966: Career development With Bono continuing to write, arrange and produce the songs, the couple's first incarnation was as the duo "Caesar and Cleo". They released some singles in 1964, including "The Letter", with Vault Records, and "The Letter", "Do You Wanna Dance" and "Love Is Strange", with Reprise Records. In September 1964, they released "Baby Don't Go" under the name of Sonny & Cher, which became their first regional hit. The song was later included on the 1965 Reprise compilation Baby Don't Go – Sonny & Cher and Friends, which also included songs from artists such as Bill Medley, The Lettermen and The Blendells. The duo released their first album Look at Us in the summer of 1965. The album contained the number one single "I Got You Babe". Look at Us peaked at number two on the Billboard chart for eight weeks in the later part of 1965. The couple appeared on many of the top television shows of the era including The Ed Sullivan Show, American Bandstand, Where The Action Is, Hollywood A Go-Go, Hollywood Palace, Hullabaloo, Beat Club, Shindig!, Ready Steady Go! and Top of the Pops. They also appeared as themselves in the film Wild on the Beach, singing "It's Gonna Rain". On their first album Bono also displayed his political interest long before running for Congress in the lyrics of the song, "The Revolution Kind". As the followup to the success of Look at Us, they released their second studio album in April 1966, The Wondrous World of Sonny & Chér, which peaked at number 34. The two dressed in animal skins with Bono wearing knee high caveman boots and Cher going barefoot. During 1965, five of their songs were in US Billboard Top 20, a record passed only by Elvis Presley and behind famous artists like The Beatles, The Rolling Stones and others. Periodic solo releases by Cher continued during this period, including major successes with "Bang Bang (My Baby Shot Me Down)", and Burt Bacharach & Hal David's theme from "Alfie" (as heard in the motion picture Alfie, as well as a single release), both in 1966. They sided with the young people being harassed on the Sunset Strip during the Sunset Strip curfew riots; they were removed from their promised position of honor in the Tournament of Roses Parade in January 1967. 1967–1969: Career woes In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" ( 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100). In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking, glamorous singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity (named after Cher's movie), born on March 4, 1969. 1970–1977: TV success and divorce In 1970, Sonny and Cher starred in their first television special, The Nitty Gritty Hour, a mixture of slapstick comedy, skits, and live music. The appearance was a critical success, which led to numerous guest spots on other television shows. They also appeared in The New Scooby-Doo Movies as guest stars. Sonny and Cher caught the eye of CBS head of programming Fred Silverman while guest-hosting The Merv Griffin Show, and Silverman offered the duo their own variety show. The Sonny and Cher Comedy Hour debuted in 1971 as a summer replacement series. The show returned to prime time later that year and was an immediate hit, quickly reaching the Top 10. The show received 15 Emmy Award nominations during its run, winning one for direction, throughout its initial four seasons on CBS. The duo also revived their recording career, releasing the album All I Ever Need Is You, and charting two more top ten hits: "All I Ever Need Is You", and "A Cowboy's Work Is Never Done" in 1972. Sonny and Cher's dialogues were patterned after the successful nightclub routines of Louis Prima and Keely Smith: the happy-go-lucky husband squelched by a tart remark from the unamused wife. The show featured a stock company of zany comedians, including Teri Garr, Freeman King, Ted Ziegler, Billy Van and Murray Langston (later The Unknown Comic on The Gong Show). One sketch satirizing CBS's detective show Cannon and its portly star William Conrad was so successful that Sonny and Cher staged several follow-ups, with Tony Curtis as "Detective Fat". Everybody in these sketches wore wide-waisted "fat suits" (similar to hoop skirts), so Detective Fat and his clients and his suspects would spend most of the time bumping each other and bouncing across the crowded room. By the third season of the Sonny and Cher Comedy Hour, the marriage of Sonny and Cher was falling apart; the duo separated later that year. The show imploded, while still rating in the top 10. What followed was a very public divorce (finalized on June 26, 1975). Cher won a Golden Globe Award for Best Performance By an Actress in a Television Series – Musical or Comedy for The Sonny and Cher Comedy Hour in 1974. Bono launched his own show, The Sonny Comedy Revue, in the fall of 1974, retaining the "Sonny and Cher" troupe of comedians and writers. Cher also announced plans to star in a new variety series of her own. Critics predicted that Bono would be the big winner with a solo comedy vehicle, and held little hope for Cher's more musical showcase. After only six weeks, however, Bono's show was abruptly canceled. The Cher show debuted as an elaborate, all-star television special on February 16, 1975, featuring Flip Wilson, Bette Midler, and special guest Elton John. Cloris Leachman and Jack Albertson both won Emmy Awards for their appearances as guest-stars a few weeks later, and the series received four additional Emmy nominations that year. The first season ranked in the Top 25 of the year-end ratings. As a result of the divorce, Sonny and Cher went their separate ways until Cher attended the opening of one of Bono's restaurants in something of a reconciliation. The Sonny & Cher Show returned in 1976, even though they were no longer married (the duo "reunited" with a humorous handshake). After struggling with low ratings through 1977, Sonny and Cher finally parted ways for good. In 1976, Mego Toys also released a line of toys and dolls, in the likeness of Sonny & Cher. The release of these fashion dolls coincided with the popularity of The Sonny & Cher Show. 1978–1999: After Sonny and Cher Sonny Bono went on to an acting career and later entered politics, eventually becoming a member of the U.S. House of Representatives. Cher went on to become a Grammy Award-winning solo singer and an Academy Award-winning actress. The couple made two surprise impromptu reunion performances: the first on The Mike Douglas Show in the spring of 1979, singing a medley of "United We Stand" and "Without You", and the second on November 13, 1987, on Late Night with David Letterman where they performed their hit song "I Got You Babe"; it turned out to be the last time the two would perform together. In early 1999, And the Beat Goes On: The Sonny and Cher Story, directed by David Burton Morris and starring Jay Underwood and Renee Faia, was broadcast on ABC. The TV movie was based on the autobiography of Bono, and focuses on the relationship between the couple during the early 1960s to their divorce in the late 1970s. This movie was also nominated for two Emmy Awards. Bono's death, music copyright On January 5, 1998, Bono died of injuries from hitting a tree while skiing at Heavenly Ski Resort in Lake Tahoe. He was 62 years old. Bono's death came just days after Michael Kennedy died in a similar accident. Bono's widow, Mary, was selected to fill the remainder of his congressional term, and was re-elected in her own right, serving until she was defeated for re-election in 2012. She continues to champion many of her late husband's causes, including the ongoing fight as how to best save the Salton Sea. The funeral, unbeknownst to Cher, was broadcast live on CNN. She gave a tearful eulogy, after which the attendees sang the song "The Beat Goes On". In front of millions, Cher tearfully and effusively praised Bono, calling him "the most unforgettable character I've ever met". His final resting place is Desert Memorial Park in nearby Cathedral City, California, the same cemetery in which Frank Sinatra was laid to rest later that same year. The epitaph on Bono's headstone reads: "And The Beat Goes On". In 1998, Sonny and Cher received a star on the Hollywood Walk of Fame for Television. Cher appeared at the event with Mary Bono, who accepted the award on behalf of her late husband. Cher paid tribute to Bono in the CBS special Sonny and Me: Cher Remembers, calling her grief "something I never plan to get over". During the same year, Cher also released her twenty-second album Believe that was highly influenced by Bono's death, and in the booklet Cher wrote "In memory of Son". When Cher and Bono divorced, they agreed to split revenue from the songs recorded together. When Bono died, one-third of his interest passed to wife Mary Bono-Mack, and one-sixth interests were split amongst his children. Cher sued UMG in 2009, claiming she and Bono's heirs were owed $5,000,000 in "hidden" royalties. Legacy and achievements Author Joseph Murrells described Sonny & Cher as "part of the leading exponents of the rock-folk-message type of song, a hybrid combining the best and instrumentation of rock music with folk lyric and often lyrics of protest." The Sonny and Cher Comedy Hour received numerous Emmy nominations; Director Art Fisher won for Outstanding Directing for a Variety Series in 1972. Cher won a Golden Globe Award for Best Actress – Television Series Musical or Comedy in 1974. Sonny and Cher received the following honors: 1966: Grammy nomination for Best New Artist 1972: Grammy nomination for Best Pop Duo/Group Performance 1998: Received a star on the Hollywood Walk of Fame 2015: Ranked No. 18 on Rolling Stone's list of the 20 Greatest Duos of All Time Filmography Discography Look at Us (1965) The Wondrous World of Sonny & Chér (1966) In Case You're in Love (1967) All I Ever Need Is You (1972) Mama Was a Rock and Roll Singer, Papa Used to Write All Her Songs (1974) See also Cher Sonny Bono Supercouple List of number-one hits (United States) List of artists who reached number one on the Billboard Hot 100 References Notes Books Sonny And Cher - Thomas Braun (1978). And The Beat Goes On - Sonny Bono (1991). The First Time - Cher (1998). External links Behind the Making of Sonny & Cher: Complete Discography & Recording History to 1970 The Wondrous World of Sonny & Cher Information sites + American pop rock music groups American musical duos American pop music groups Atco Records artists Atlantic Records artists Cher Married couples MCA Records artists Musical groups established in 1964 Rock music duos Sonny Bono Male–female musical duos Reprise Records artists Warner Records artists

C_879d236d48394cb2b34e01e16d9ff3b4_1

Was the attempt successful?

Was Sonny & Cher's attempt at a new career in Las Vegas successful?

Sonny & Cher

In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" (No. 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100), that peaked at the number one in five European countries. In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity Sun Bono, born on March 4, 1969. CANNOTANSWER

While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series.

Sonny & Cher were an American pop and entertainment duo in the 1960s and 1970s, made up of husband and wife Sonny Bono and Cher. The couple started their career in the mid-1960s as R&B backing singers for record producer Phil Spector. The pair first achieved fame with two hit songs in 1965, "Baby Don't Go" and "I Got You Babe". Signing with Atco/Atlantic Records, they released three studio albums in the late 1960s, as well as the soundtrack recordings for two unsuccessful movies, Good Times and Chastity, with Cher contributing vocals to one cut, "Chastity's Song (Band of Thieves)". In 1972, after three years of silence, the couple returned to the studio and released two other albums under the MCA/Kapp Records label. In the 1970s, they also positioned themselves as media personalities with two top ten TV shows in the US, The Sonny & Cher Comedy Hour and The Sonny & Cher Show. The couple's career as a duo ended in 1975 following their divorce. In the decade they spent together, Sonny and Cher were nominated for two Grammy Awards and sold over 40 million records worldwide. Rolling Stone ranked them No. 18 on its list of the 20 Greatest Duos of All Time. Performing under her first name, Cher went on to a highly successful career as a solo singer and actress, while Sonny Bono was eventually elected to Congress as a Republican U.S. Representative from California. The two performers were inducted to the Hollywood Walk of Fame in 1998, following Sonny's death in a skiing accident. Career 1962–1964: The origin Cherilyn Sarkisian first met Salvatore Bono in a Los Angeles coffee shop in November 1962, when she was sixteen. Eleven years her senior, Bono was working for record producer Phil Spector at Gold Star Studios in Hollywood. The two became best friends, eventual lovers, and were supposedly married in 1964, but Bono says in his autobiography that it was not an official marriage. They were legally wed after their only child, Chaz, was born. Through Bono, Cher started as a session singer, and sang backup on several of Spector's classic recordings, including "Be My Baby" by the Ronettes, "You've Lost That Loving Feeling" by The Righteous Brothers and Darlene Love's "A Fine, Fine Boy". In Darlene Love's recording, the listener can clearly hear Cher and Sonny close to the mic (along with Love, who recorded her own backing vocals). 1965–1966: Career development With Bono continuing to write, arrange and produce the songs, the couple's first incarnation was as the duo "Caesar and Cleo". They released some singles in 1964, including "The Letter", with Vault Records, and "The Letter", "Do You Wanna Dance" and "Love Is Strange", with Reprise Records. In September 1964, they released "Baby Don't Go" under the name of Sonny & Cher, which became their first regional hit. The song was later included on the 1965 Reprise compilation Baby Don't Go – Sonny & Cher and Friends, which also included songs from artists such as Bill Medley, The Lettermen and The Blendells. The duo released their first album Look at Us in the summer of 1965. The album contained the number one single "I Got You Babe". Look at Us peaked at number two on the Billboard chart for eight weeks in the later part of 1965. The couple appeared on many of the top television shows of the era including The Ed Sullivan Show, American Bandstand, Where The Action Is, Hollywood A Go-Go, Hollywood Palace, Hullabaloo, Beat Club, Shindig!, Ready Steady Go! and Top of the Pops. They also appeared as themselves in the film Wild on the Beach, singing "It's Gonna Rain". On their first album Bono also displayed his political interest long before running for Congress in the lyrics of the song, "The Revolution Kind". As the followup to the success of Look at Us, they released their second studio album in April 1966, The Wondrous World of Sonny & Chér, which peaked at number 34. The two dressed in animal skins with Bono wearing knee high caveman boots and Cher going barefoot. During 1965, five of their songs were in US Billboard Top 20, a record passed only by Elvis Presley and behind famous artists like The Beatles, The Rolling Stones and others. Periodic solo releases by Cher continued during this period, including major successes with "Bang Bang (My Baby Shot Me Down)", and Burt Bacharach & Hal David's theme from "Alfie" (as heard in the motion picture Alfie, as well as a single release), both in 1966. They sided with the young people being harassed on the Sunset Strip during the Sunset Strip curfew riots; they were removed from their promised position of honor in the Tournament of Roses Parade in January 1967. 1967–1969: Career woes In 1967 Sonny and Cher released their third album, In Case You're In Love. It peaked at number 45 in the U.S. charts. It contained two hit singles, both written by Bono, "The Beat Goes On" ( 6 on the Billboard Hot 100) and "Little Man" (No. 21 on the Billboard Hot 100). In an attempt to capitalize on the duo's initial success, Bono speedily arranged a film project for the duo to star in. But the 1967 feature, Good Times, was a major bomb, despite the efforts of fledgling director William Friedkin and co-star George Sanders. After Good Times flopped in 1968, Columbia Pictures immediately sold rights to their intended follow-up film Speedway to MGM. The couple were replaced by Elvis Presley and Nancy Sinatra. In 1969, another film, Chastity, starring Cher, written and produced by Sonny, was also a commercial bomb. Sonny and Cher's career had stalled by 1968 as album sales quickly dried up. Their gentle, easy-listening pop sound and drug-free life had become unpopular in an era increasingly consumed with the psychedelic rock of the evolving landscape of American pop culture during the late 1960s. Bono decided to forge ahead, carving a new career for the duo in Las Vegas resorts, where they sharpened their public persona with Cher as the wise-cracking, glamorous singer, and Bono as the good-natured recipient of her insults. In reality, Bono controlled every aspect of their act, from the musical arrangements to the joke-writing. While success was slow to come, their luck improved when network TV talent scouts attended a show, noting their potential appeal for a variety series. Sonny and Cher also welcomed their first child, Chastity (named after Cher's movie), born on March 4, 1969. 1970–1977: TV success and divorce In 1970, Sonny and Cher starred in their first television special, The Nitty Gritty Hour, a mixture of slapstick comedy, skits, and live music. The appearance was a critical success, which led to numerous guest spots on other television shows. They also appeared in The New Scooby-Doo Movies as guest stars. Sonny and Cher caught the eye of CBS head of programming Fred Silverman while guest-hosting The Merv Griffin Show, and Silverman offered the duo their own variety show. The Sonny and Cher Comedy Hour debuted in 1971 as a summer replacement series. The show returned to prime time later that year and was an immediate hit, quickly reaching the Top 10. The show received 15 Emmy Award nominations during its run, winning one for direction, throughout its initial four seasons on CBS. The duo also revived their recording career, releasing the album All I Ever Need Is You, and charting two more top ten hits: "All I Ever Need Is You", and "A Cowboy's Work Is Never Done" in 1972. Sonny and Cher's dialogues were patterned after the successful nightclub routines of Louis Prima and Keely Smith: the happy-go-lucky husband squelched by a tart remark from the unamused wife. The show featured a stock company of zany comedians, including Teri Garr, Freeman King, Ted Ziegler, Billy Van and Murray Langston (later The Unknown Comic on The Gong Show). One sketch satirizing CBS's detective show Cannon and its portly star William Conrad was so successful that Sonny and Cher staged several follow-ups, with Tony Curtis as "Detective Fat". Everybody in these sketches wore wide-waisted "fat suits" (similar to hoop skirts), so Detective Fat and his clients and his suspects would spend most of the time bumping each other and bouncing across the crowded room. By the third season of the Sonny and Cher Comedy Hour, the marriage of Sonny and Cher was falling apart; the duo separated later that year. The show imploded, while still rating in the top 10. What followed was a very public divorce (finalized on June 26, 1975). Cher won a Golden Globe Award for Best Performance By an Actress in a Television Series – Musical or Comedy for The Sonny and Cher Comedy Hour in 1974. Bono launched his own show, The Sonny Comedy Revue, in the fall of 1974, retaining the "Sonny and Cher" troupe of comedians and writers. Cher also announced plans to star in a new variety series of her own. Critics predicted that Bono would be the big winner with a solo comedy vehicle, and held little hope for Cher's more musical showcase. After only six weeks, however, Bono's show was abruptly canceled. The Cher show debuted as an elaborate, all-star television special on February 16, 1975, featuring Flip Wilson, Bette Midler, and special guest Elton John. Cloris Leachman and Jack Albertson both won Emmy Awards for their appearances as guest-stars a few weeks later, and the series received four additional Emmy nominations that year. The first season ranked in the Top 25 of the year-end ratings. As a result of the divorce, Sonny and Cher went their separate ways until Cher attended the opening of one of Bono's restaurants in something of a reconciliation. The Sonny & Cher Show returned in 1976, even though they were no longer married (the duo "reunited" with a humorous handshake). After struggling with low ratings through 1977, Sonny and Cher finally parted ways for good. In 1976, Mego Toys also released a line of toys and dolls, in the likeness of Sonny & Cher. The release of these fashion dolls coincided with the popularity of The Sonny & Cher Show. 1978–1999: After Sonny and Cher Sonny Bono went on to an acting career and later entered politics, eventually becoming a member of the U.S. House of Representatives. Cher went on to become a Grammy Award-winning solo singer and an Academy Award-winning actress. The couple made two surprise impromptu reunion performances: the first on The Mike Douglas Show in the spring of 1979, singing a medley of "United We Stand" and "Without You", and the second on November 13, 1987, on Late Night with David Letterman where they performed their hit song "I Got You Babe"; it turned out to be the last time the two would perform together. In early 1999, And the Beat Goes On: The Sonny and Cher Story, directed by David Burton Morris and starring Jay Underwood and Renee Faia, was broadcast on ABC. The TV movie was based on the autobiography of Bono, and focuses on the relationship between the couple during the early 1960s to their divorce in the late 1970s. This movie was also nominated for two Emmy Awards. Bono's death, music copyright On January 5, 1998, Bono died of injuries from hitting a tree while skiing at Heavenly Ski Resort in Lake Tahoe. He was 62 years old. Bono's death came just days after Michael Kennedy died in a similar accident. Bono's widow, Mary, was selected to fill the remainder of his congressional term, and was re-elected in her own right, serving until she was defeated for re-election in 2012. She continues to champion many of her late husband's causes, including the ongoing fight as how to best save the Salton Sea. The funeral, unbeknownst to Cher, was broadcast live on CNN. She gave a tearful eulogy, after which the attendees sang the song "The Beat Goes On". In front of millions, Cher tearfully and effusively praised Bono, calling him "the most unforgettable character I've ever met". His final resting place is Desert Memorial Park in nearby Cathedral City, California, the same cemetery in which Frank Sinatra was laid to rest later that same year. The epitaph on Bono's headstone reads: "And The Beat Goes On". In 1998, Sonny and Cher received a star on the Hollywood Walk of Fame for Television. Cher appeared at the event with Mary Bono, who accepted the award on behalf of her late husband. Cher paid tribute to Bono in the CBS special Sonny and Me: Cher Remembers, calling her grief "something I never plan to get over". During the same year, Cher also released her twenty-second album Believe that was highly influenced by Bono's death, and in the booklet Cher wrote "In memory of Son". When Cher and Bono divorced, they agreed to split revenue from the songs recorded together. When Bono died, one-third of his interest passed to wife Mary Bono-Mack, and one-sixth interests were split amongst his children. Cher sued UMG in 2009, claiming she and Bono's heirs were owed $5,000,000 in "hidden" royalties. Legacy and achievements Author Joseph Murrells described Sonny & Cher as "part of the leading exponents of the rock-folk-message type of song, a hybrid combining the best and instrumentation of rock music with folk lyric and often lyrics of protest." The Sonny and Cher Comedy Hour received numerous Emmy nominations; Director Art Fisher won for Outstanding Directing for a Variety Series in 1972. Cher won a Golden Globe Award for Best Actress – Television Series Musical or Comedy in 1974. Sonny and Cher received the following honors: 1966: Grammy nomination for Best New Artist 1972: Grammy nomination for Best Pop Duo/Group Performance 1998: Received a star on the Hollywood Walk of Fame 2015: Ranked No. 18 on Rolling Stone's list of the 20 Greatest Duos of All Time Filmography Discography Look at Us (1965) The Wondrous World of Sonny & Chér (1966) In Case You're in Love (1967) All I Ever Need Is You (1972) Mama Was a Rock and Roll Singer, Papa Used to Write All Her Songs (1974) See also Cher Sonny Bono Supercouple List of number-one hits (United States) List of artists who reached number one on the Billboard Hot 100 References Notes Books Sonny And Cher - Thomas Braun (1978). And The Beat Goes On - Sonny Bono (1991). The First Time - Cher (1998). External links Behind the Making of Sonny & Cher: Complete Discography & Recording History to 1970 The Wondrous World of Sonny & Cher Information sites + American pop rock music groups American musical duos American pop music groups Atco Records artists Atlantic Records artists Cher Married couples MCA Records artists Musical groups established in 1964 Rock music duos Sonny Bono Male–female musical duos Reprise Records artists Warner Records artists

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When was the film version released?

When was the film version of Carousel released?

Carousel (musical)

A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. CANNOTANSWER

A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely,

Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that Carousel was his favorite of all his musicals. Following the spectacular success of the first Rodgers and Hammerstein musical, Oklahoma! (1943), the pair sought to collaborate on another piece, knowing that any resulting work would be compared with Oklahoma!, most likely unfavorably. They were initially reluctant to seek the rights to Liliom; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful. The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. Carousel initially ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as Oklahoma!, the piece has been repeatedly revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in London, in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, Time magazine named Carousel the best musical of the 20th century. Background Liliom Ferenc Molnár's Hungarian-language drama, Liliom, premiered in Budapest in 1909. The audience was puzzled by the work, and it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. Liliom was not presented again until after World War I. When it reappeared on the Budapest stage, it was a tremendous hit. Except for the ending, the plots of Liliom and Carousel are very similar. Andreas Zavocky (nicknamed Liliom, the Hungarian word for "lily", a slang term for "tough guy"), a carnival barker, falls in love with Julie Zeller, a servant girl, and they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, and Liliom stabs himself. He dies, and his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory. On his return to Earth, Liliom encounters his daughter, Louise, who like her mother is now a factory worker. Saying that he knew her father, he tries to give her a star he stole from the heavens. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie confronts him, but finds herself unable to be angry with him. Liliom is ushered off to his fate, presumably Hell, and Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is very possible for that to happen. An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, uncredited, was Rodgers' first major partner Lorenz Hart. The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, and the play was a success, running 300 performances. A 1940 revival with Burgess Meredith and Ingrid Bergman was seen by both Hammerstein and Rodgers. Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell; Liliom crying out to the distant carousel the glad news that he is to be a father; the two thieves gambling for the spoils of their prospective robbery; Marie and Wolf posing for their portrait while the broken-hearted Julie stands looking after the vanishing Liliom, the thieves' song ringing in her ears; the two policemen grousing about pay and pensions while Liliom lies bleeding to death; Liliom furtively proffering his daughter the star he has stolen for her in heaven. ... The temptation to count the whole scintillating string is difficult to resist. Inception In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940). Some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot (in the "Slaughter on Tenth Avenue" scene), while Pal Joey flouted Broadway tradition by presenting a knave as its hero. Hammerstein had written or co-written the words for such hits as Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, "The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good. By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, becoming unreliable and prompting Rodgers to approach Hammerstein to ask if he would consider working with him. Hammerstein was eager to do so, and their first collaboration was Oklahoma! (1943). Thomas Hischak states, in his The Rodgers and Hammerstein Encyclopedia, that Oklahoma! is "the single most influential work in the American musical theatre. In fact, the history of the Broadway musical can accurately be divided into what came before Oklahoma! and what came after it." An innovation for its time in integrating song, character, plot and dance, Oklahoma! would serve, according to Hischak, as "the model for Broadway shows for decades", and proved a huge popular and financial success. Once it was well-launched, what to do as an encore was a daunting challenge for the pair. Film producer Samuel Goldwyn saw Oklahoma! and advised Rodgers to shoot himself, which according to Rodgers "was Sam's blunt but funny way of telling me that I'd never create another show as good as Oklahoma!" As they considered new projects, Hammerstein wrote, "We're such fools. No matter what we do, everyone is bound to say, 'This is not another Oklahoma! " Oklahoma! had been a struggle to finance and produce. Hammerstein and Rodgers met weekly in 1943 with Theresa Helburn and Lawrence Langner of the Theatre Guild, producers of the blockbuster musical, who together formed what they termed "the Gloat Club". At one such luncheon, Helburn and Langner proposed to Rodgers and Hammerstein that they turn Molnár's Liliom into a musical. Both men refused—they had no feeling for the Budapest setting and thought that the unhappy ending was unsuitable for musical theatre. In addition, given the unstable wartime political situation, they might need to change the setting from Hungary while in rehearsal. At the next luncheon, Helburn and Langner again proposed Liliom, suggesting that they move the setting to Louisiana and make Liliom a Creole. Rodgers and Hammerstein played with the idea over the next few weeks, but decided that Creole dialect, filled with "zis" and "zose", would sound corny and would make it difficult to write effective lyrics. A breakthrough came when Rodgers, who owned a house in Connecticut, proposed a New England setting. Hammerstein wrote of this suggestion in 1945, I began to see an attractive ensemble—sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute ... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music. Molnár's opposition to having his works adapted was also an issue; he had famously turned down Giacomo Puccini when the great composer wished to transform Liliom into an opera, stating that he wanted the piece to be remembered as his, not Puccini's. In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from Kurt Weill to adapt the play into a musical. The pair continued to work on the preliminary ideas for a Liliom adaptation while pursuing other projects in late 1943 and early 1944—writing the film musical State Fair and producing I Remember Mama on Broadway. Meanwhile, the Theatre Guild took Molnár to see Oklahoma! Molnár stated that if Rodgers and Hammerstein could adapt Liliom as beautifully as they had modified Green Grow the Lilacs into Oklahoma!, he would be pleased to have them do it. The Guild obtained the rights from Molnár in October 1943. The playwright received one percent of the gross and $2,500 for "personal services". The duo insisted, as part of the contract, that Molnár permit them to make changes in the plot. At first, the playwright refused, but eventually yielded. Hammerstein later stated that if this point had not been won, "we could never have made Carousel." In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in Pal Joey. Rodgers and Hart had overcome the problem with a song that Joey sings to himself, "I'm Talking to My Pal". This inspired "Soliloquy". Both partners later told a story that "Soliloquy" was only intended to be a song about Liliom's dreams of a son, but that Rodgers, who had two daughters, insisted that Liliom consider that Julie might have a girl. However, the notes taken at their meeting of December 7, 1943 state: "Mr. Rodgers suggested a fine musical number for the end of the scene where Liliom discovers he is to be a father, in which he sings first with pride of the growth of a boy, and then suddenly realizes it might be a girl and changes completely." Hammerstein and Rodgers returned to the Liliom project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results. Green Grow the Lilacs had been a little-known work; Liliom was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy. Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in Liliom; they became Enoch Snow and Carrie Pipperidge. "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for Oklahoma! but not used. Molnár's ending was unsuitable, and after a couple of false starts, Hammerstein conceived the graduation scene that ends the musical. According to Frederick Nolan in his book on the team's works: "From that scene the song "You'll Never Walk Alone" sprang almost naturally." In spite of Hammerstein's simple lyrics for "You'll Never Walk Alone", Rodgers had great difficulty in setting it to music. Rodgers explained his rationale for the changed ending, Liliom was a tragedy about a man who cannot learn to live with other people. The way Molnár wrote it, the man ends up hitting his daughter and then having to go back to purgatory, leaving his daughter helpless and hopeless. We couldn't accept that. The way we ended Carousel it may still be a tragedy but it's a hopeful one because in the final scene it is clear that the child has at last learned how to express herself and communicate with others. When the pair decided to make "This Was a Real Nice Clambake" into an ensemble number, Hammerstein realized he had no idea what a clambake was like, and researched the matter. Based on his initial findings, he wrote the line, "First came codfish chowder". However, further research convinced him the proper term was "codhead chowder", a term unfamiliar to many playgoers. He decided to keep it as "codfish". When the song proceeded to discuss the lobsters consumed at the feast, Hammerstein wrote the line "We slit 'em down the back/And peppered 'em good". He was grieved to hear from a friend that lobsters are always slit down the front. The lyricist sent a researcher to a seafood restaurant and heard back that lobsters are always slit down the back. Hammerstein concluded that there is disagreement about which side of a lobster is the back. One error not caught involved the song "June Is Bustin' Out All Over", in which sheep are depicted as seeking to mate in late spring—they actually do so in the winter. Whenever this was brought to Hammerstein's attention, he told his informant that 1873 was a special year, in which sheep mated in the spring. Rodgers early decided to dispense with an overture, feeling that the music was hard to hear over the banging of seats as latecomers settled themselves. In his autobiography, Rodgers complained that only the brass section can be heard during an overture because there are never enough strings in a musical's small orchestra. He determined to force the audience to concentrate from the beginning by opening with a pantomime scene accompanied by what became known as "The Carousel Waltz". The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience. Author Ethan Mordden described the effectiveness of this opening: Other characters catch our notice—Mr. Bascombe, the pompous mill owner, Mrs. Mullin, the widow who runs the carousel and, apparently, Billy; a dancing bear; an acrobat. But what draws us in is the intensity with which Julie regards Billy—the way she stands frozen, staring at him, while everyone else at the fair is swaying to the rhythm of Billy's spiel. And as Julie and Billy ride together on the swirling carousel, and the stage picture surges with the excitement of the crowd, and the orchestra storms to a climax, and the curtain falls, we realize that R & H have not only skipped the overture and the opening number but the exposition as well. They have plunged into the story, right into the middle of it, in the most intense first scene any musical ever had. Casting and out-of-town tryouts The casting for Carousel began when Oklahoma!s production team, including Rodgers and Hammerstein, was seeking a replacement for the part of Curly (the male lead in Oklahoma!). Lawrence Langner had heard, through a relative, of a California singer named John Raitt, who might be suitable for the part. Langner went to hear Raitt, then urged the others to bring Raitt to New York for an audition. Raitt asked to sing "Largo al factotum", Figaro's aria from The Barber of Seville, to warm up. The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed). Theresa Helburn made another California discovery, Jan Clayton, a singer/actress who had made a few minor films for MGM. She was brought east and successfully auditioned for the part of Julie. The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of Pal Joey), had ever played on Broadway before. It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, John Fearnley, that the sole qualification for a dancing boy was that he be alive. Rodgers and Hammerstein reassembled much of the creative team that had made Oklahoma! a success, including director Rouben Mamoulian and choreographer Agnes de Mille. Miles White was the costume designer while Jo Mielziner (who had not worked on Oklahoma!) was the scenic and lighting designer. Even though Oklahoma! orchestrator Russell Bennett had informed Rodgers that he was unavailable to work on Carousel due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by Don Walker. A new member of the creative team was Trude Rittmann, who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s. Rehearsals began in January 1945; either Rodgers or Hammerstein was always present. Raitt was presented with the lyrics for "Soliloquy" on a five-foot long sheet of paper—the piece ran nearly eight minutes. Staging such a long solo number presented problems, and Raitt later stated that he felt that they were never fully addressed. At some point during rehearsals, Molnár came to see what they had done to his play. There are a number of variations on the story.Fordin, pp. 231–32 As Rodgers told it, while watching rehearsals with Hammerstein, the composer spotted Molnár in the rear of the theatre and whispered the news to his partner. Both sweated through an afternoon of rehearsal in which nothing seemed to go right. At the end, the two walked to the back of the theatre, expecting an angry reaction from Molnár. Instead, the playwright said enthusiastically, "What you have done is so beautiful. And you know what I like best? The ending!" Hammerstein wrote that Molnár became a regular attendee at rehearsals after that. Like most of the pair's works, Carousel contains a lengthy ballet, "Billy Makes a Journey", in the second act, as Billy looks down to the Earth from "Up There" and observes his daughter. In the original production the ballet was choreographed by de Mille. It began with Billy looking down from heaven at his wife in labor, with the village women gathered for a "birthing". The ballet involved every character in the play, some of whom spoke lines of dialogue, and contained a number of subplots. The focus was on Louise, played by Bambi Linn, who at first almost soars in her dance, expressing the innocence of childhood. She is teased and mocked by her schoolmates, and Louise becomes attracted to the rough carnival people, who symbolize Billy's world. A youth from the carnival attempts to seduce Louise, as she discovers her own sexuality, but he decides she is more girl than woman, and he leaves her. After Julie comforts her, Louise goes to a children's party, where she is shunned. The carnival people reappear and form a ring around the children's party, with Louise lost between the two groups. At the end, the performers form a huge carousel with their bodies. The play opened for tryouts in New Haven, Connecticut on March 22, 1945. The first act was well-received; the second act was not. Casto recalled that the second act finished about 1:30 a.m. The staff immediately sat down for a two-hour conference. Five scenes, half the ballet, and two songs were cut from the show as the result. John Fearnley commented, "Now I see why these people have hits. I never witnessed anything so brisk and brave in my life." De Mille said of this conference, "not three minutes had been wasted pleading for something cherished. Nor was there any idle joking. ... We cut and cut and cut and then we went to bed." By the time the company left New Haven, de Mille's ballet was down to forty minutes. A major concern with the second act was the effectiveness of the characters He and She (later called by Rodgers "Mr. and Mrs. God"), before whom Billy appeared after his death. Mr. and Mrs. God were depicted as a New England minister and his wife, seen in their parlor.Block (ed.), p. 129. At this time, according to the cast sheet distributed during the Boston run, Dr. Seldon was listed as the "Minister". The couple was still part of the show at the Boston opening. Rodgers said to Hammerstein, "We've got to get God out of that parlor". When Hammerstein inquired where he should put the deity, Rodgers replied, "I don't care where you put Him. Put Him on a ladder for all I care, only get Him out of that parlor!" Hammerstein duly put Mr. God (renamed the Starkeeper) atop a ladder, and Mrs. God was removed from the show. Rodgers biographer Meryle Secrest terms this change a mistake, leading to a more fantastic afterlife, which was later criticized by The New Republic as "a Rotarian atmosphere congenial to audiences who seek not reality but escape from reality, not truth but escape from truth". Hammerstein wrote that Molnár's advice, to combine two scenes into one, was key to pulling together the second act and represented "a more radical departure from the original than any change we had made". A reprise of "If I Loved You" was added in the second act, which Rodgers felt needed more music. Three weeks of tryouts in Boston followed the brief New Haven run, and the audience there gave the musical a warm reception. An even shorter version of the ballet was presented the final two weeks in Boston, but on the final night there, de Mille expanded it back to forty minutes, and it brought the house down, causing both Rodgers and Hammerstein to embrace her. Synopsis Act 1 Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("If I Loved You"). Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news—she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep"). Jigger and his shipmates, joined by Billy, then sing about life on the sea ("Blow High, Blow Low"). The whaler tries to recruit Billy to help with a robbery, but Billy declines, as the victim—Julie's former boss, Mr. Bascombe—might have to be killed. Mrs. Mullin enters and tries to tempt Billy back to the carousel (and to her). He would have to abandon Julie; a married barker cannot evoke the same sexual tension as one who is single. Billy reluctantly mulls it over as Julie arrives and the others leave. She tells him that she is pregnant, and Billy is overwhelmed with happiness, ending all thoughts of returning to the carousel. Once alone, Billy imagines the fun he will have with Bill Jr.—until he realizes that his child might be a girl, and reflects soberly that "you've got to be a father to a girl" ("Soliloquy"). Determined to provide financially for his future child, whatever the means, Billy decides to be Jigger's accomplice. The whole town leaves for the clambake. Billy, who had earlier refused to go, agrees to join in, to Julie's delight, as he realizes that being seen at the clambake is integral to his and Jigger's alibi ("Act I Finale"). Act 2 Everyone reminisces about the huge meal and much fun ("This Was a Real Nice Clambake"). Jigger tries to seduce Carrie; Enoch walks in at the wrong moment, and declares that he is finished with her ("Geraniums In the Winder"), as Jigger jeers ("There's Nothin' So Bad for a Woman"). The girls try to comfort Carrie, but for Julie all that matters is that "he's your feller and you love him" ("What's the Use of Wond'rin'?"). Julie sees Billy trying to sneak away with Jigger and, trying to stop him, feels the knife hidden in his shirt. She begs him to give it to her, but he refuses and leaves to commit the robbery. As they wait, Jigger and Billy gamble with cards. They stake their shares of the anticipated robbery spoils. Billy loses: his participation is now pointless. Unknown to Billy and Jigger, Mr. Bascombe, the intended victim, has already deposited the mill's money. The robbery fails: Bascombe pulls a gun on Billy while Jigger escapes. Billy stabs himself with his knife; Julie arrives just in time for him to say his last words to her and die. Julie strokes his hair, finally able to tell him that she loved him. Carrie and Enoch, reunited by the crisis, attempt to console Julie; Nettie arrives and gives Julie the resolve to keep going despite her despair ("You'll Never Walk Alone"). Billy's defiant spirit ("The Highest Judge of All") is taken Up There to see the Starkeeper, a heavenly official. The Starkeeper tells Billy that the good he did in life was not enough to get into heaven, but so long as there is a person alive who remembers him, he can return for a day to try to do good to redeem himself. He informs Billy that fifteen years have passed on Earth since his suicide, and suggests that Billy can get himself into heaven if he helps his daughter, Louise. He helps Billy look down from heaven to see her (instrumental ballet: "Billy Makes a Journey"). Louise has grown up to be lonely and bitter. The local children ostracize her because her father was a thief and a wife-beater. In the dance, a young ruffian, much like her father at that age, flirts with her and abandons her as too young. The dance concludes, and Billy is anxious to return to Earth and help his daughter. He steals a star to take with him, as the Starkeeper pretends not to notice. Outside Julie's cottage, Carrie describes her visit to New York with the now-wealthy Enoch. Carrie's husband and their many children enter to fetch her—the family must get ready for the high school graduation later that day. Enoch Jr., the oldest son, remains behind to talk with Louise, as Billy and the Heavenly Friend escorting him enter, invisible to the other characters. Louise confides in Enoch Jr. that she plans to run away from home with an acting troupe. He says that he will stop her by marrying her, but that his father will think her an unsuitable match. Louise is outraged: each insults the other's father, and Louise orders Enoch Jr. to go away. Billy, able to make himself visible at will, reveals himself to the sobbing Louise, pretending to be a friend of her father. He offers her a gift—the star he stole from heaven. She refuses it and, frustrated, he slaps her hand. He makes himself invisible, and Louise tells Julie what happened, stating that the slap miraculously felt like a kiss, not a blow—and Julie understands her perfectly. Louise retreats to the house, as Julie notices the star that Billy dropped; she picks it up and seems to feel Billy's presence ("If I Loved You (Reprise)"). Billy invisibly attends Louise's graduation, hoping for one last chance to help his daughter and redeem himself. The beloved town physician, Dr. Seldon (who resembles the Starkeeper) advises the graduating class not to rely on their parents' success or be held back by their failure (words directed at Louise). Seldon prompts everyone to sing an old song, "You'll Never Walk Alone". Billy, still invisible, whispers to Louise, telling her to believe Seldon's words, and when she tentatively reaches out to another girl, she learns she does not have to be an outcast. Billy goes to Julie, telling her at last that he loved her. As his widow and daughter join in the singing, Billy is taken to his heavenly reward. Principal roles and notable performers ° denotes original Broadway cast Musical numbers Act I"List of Songs", Carousel at the IBDB Database. Retrieved July 18, 2012 "The Carousel Waltz" – Orchestra "You're a Queer One, Julie Jordan" – Carrie Pipperidge and Julie Jordan "(When I Marry) Mister Snow" – Carrie "If I Loved You" – Billy Bigelow and Julie "June Is Bustin' Out All Over" – Nettie Fowler and Chorus "(When I Marry) Mister Snow" (reprise) – Carrie, Enoch Snow and Female Chorus "When the Children Are Asleep" – Enoch and Carrie "Blow High, Blow Low" – Jigger Craigin, Billy and Male Chorus "Soliloquy" – BillyAct II "This Was a Real Nice Clambake" – Carrie, Nettie, Julie, Enoch and Chorus "Geraniums in the Winder" – Enoch * "There's Nothin' So Bad for a Woman" – Jigger and Chorus "What's the Use of Wond'rin'?" – Julie "You'll Never Walk Alone" – Nettie "The Highest Judge of All" – Billy Ballet: "Billy Makes a Journey" – Orchestra "If I Loved You" (reprise) – Billy Finale: "You'll Never Walk Alone" (reprise) – Company Productions Early productions The original Broadway production opened at the Majestic Theatre on April 19, 1945. The dress rehearsal the day before had gone badly, and the pair feared the new work would not be well received. One successful last-minute change was to have de Mille choreograph the pantomime. The movement of the carnival crowd in the pantomime had been entrusted to Mamoulian, and his version was not working. Rodgers had injured his back the previous week, and he watched the opening from a stretcher propped in a box behind the curtain. Sedated with morphine, he could see only part of the stage. As he could not hear the audience's applause and laughter, he assumed the show was a failure. It was not until friends congratulated him later that evening that he realized that the curtain had been met by wild applause. Bambi Linn, who played Louise, was so enthusiastically received by the audience during her ballet that she was forced to break character, when she next appeared, and bow. Rodgers' daughter Mary caught sight of her friend, Stephen Sondheim, both teenagers then, across several rows; both had eyes wet with tears. The original production ran for 890 performances, closing on May 24, 1947. The original cast included John Raitt (Billy), Jan Clayton (Julie), Jean Darling (Carrie), Eric Mattson (Enoch Snow), Christine Johnson (Nettie Fowler), Murvyn Vye (Jigger), Bambi Linn (Louise) and Russell Collins (Starkeeper). In December 1945, Clayton left to star in the Broadway revival of Show Boat and was replaced by Iva Withers; Raitt was replaced by Henry Michel in January 1947; Darling was replaced by Margot Moser.Hischak, p. 62 After closing on Broadway, the show went on a national tour for two years. It played for five months in Chicago alone, visited twenty states and two Canadian cities, covered and played to nearly two million people. The touring company had a four-week run at New York City Center in January 1949. Following the City Center run, the show was moved back to the Majestic Theatre in the hopes of filling the theatre until South Pacific opened in early April. However, ticket sales were mediocre, and the show closed almost a month early. The musical premiered in the West End, London, at the Theatre Royal, Drury Lane on June 7, 1950. The production was restaged by Jerome Whyte, with a cast that included Stephen Douglass (Billy), Iva Withers (Julie) and Margot Moser (Carrie). Carousel ran in London for 566 performances, remaining there for over a year and a half. Subsequent productions Carousel was revived in 1954 and 1957 at City Center, presented by the New York City Center Light Opera Company. Both times, the production featured Barbara Cook, though she played Carrie in 1954 and Julie in 1957 (playing alongside Howard Keel as Billy). The production was then taken to Belgium to be performed at the 1958 Brussels World's Fair, with David Atkinson as Billy, Ruth Kobart as Nettie, and Clayton reprising the role of Julie, which she had originated. In August 1965, Rodgers and the Music Theater of Lincoln Center produced Carousel for 47 performances. John Raitt reprised the role of Billy, with Jerry Orbach as Jigger and Reid Shelton as Enoch Snow. The roles of the Starkeeper and Dr. Seldon were played by Edward Everett Horton in his final stage appearance. The following year, New York City Center Light Opera Company brought Carousel back to City Center for 22 performances, with Bruce Yarnell as Billy and Constance Towers as Julie. Nicholas Hytner directed a new production of Carousel in 1992, at London's Royal National Theatre, with choreography by Sir Kenneth MacMillan and designs by Bob Crowley. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival. As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride.Block, p. 175 Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel. Michael Hayden played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode. Hayden, Joanna Riding (Julie) and Janie Dee (Carrie) all won Olivier Awards for their performances. Patricia Routledge played Nettie. Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in The New York Times, looked like "a walking United Colors of Benetton ad". Clive Rowe, as Enoch, was nominated for an Olivier Award. The production's limited run from December 1992 through March 1993 was a sellout. It re-opened at the Shaftesbury Theatre in London in September 1993, presented by Cameron Mackintosh, where it continued until May 1994. The Hytner production moved to New York's Vivian Beaumont Theater, where it opened on March 24, 1994, and ran for 322 performances. This won five Tony Awards, including best musical revival, as well as awards for Hytner, MacMillan, Crowley and Audra McDonald (as Carrie). The cast also included Sally Murphy as Julie, Shirley Verrett as Nettie, Fisher Stevens as Jigger and Eddie Korbich as Enoch. One change made from the London to the New York production was to have Billy strike Louise across the face, rather than on the hand. According to Hayden, "He does the one unpardonable thing, the thing we can't forgive. It's a challenge for the audience to like him after that." The Hytner Carousel was presented in Japan in May 1995. A U.S. national tour with a scaled-down production began in February 1996 in Houston and closed in May 1997 in Providence, Rhode Island. Producers sought to feature young talent on the tour, with Patrick Wilson as Billy and Sarah Uriarte Berry, and later Jennifer Laura Thompson, as Julie. A revival opened at London's Savoy Theatre on December 2, 2008, after a week of previews, starring Jeremiah James (Billy), Alexandra Silber (Julie) and Lesley Garrett (Nettie). The production received warm to mixed reviews. It closed in June 2009, a month early. Michael Coveney, writing in The Independent, admired Rodgers' music but stated, "Lindsay Posner's efficient revival doesn't hold a candle to the National Theatre 1992 version". A production at Theater Basel, Switzerland, in 2016 to 2017, with German dialogue, was directed by Alexander Charim and choreographed by Teresa Rotemberg. Bryony Dwyer, Christian Miedl and Cheryl Studer starred, respectively, as Julie Jordan, Billy Bigelow and Nettie Fowler.<ref>[http://operabase.com/diary.cgi?lang=en&code=wsba&date=20161215 "Richard Rodgers: Carousel"] , Diary: Theater Basel, Operabase.com. Retrieved on March 8, 2018</ref> A semi-staged revival by the English National Opera opened at the London Coliseum in 2017. The production was directed by Lonny Price, conducted by David Charles Abell, and starred Alfie Boe as Billy, Katherine Jenkins as Julie and Nicholas Lyndhurst as the Starkeeper. The production received mixed to positive reviews. The third Broadway revival began previews in February 2018 at the Imperial Theatre and officially opened on April 12. It closed on September 16, 2018. The production starred Jessie Mueller, Joshua Henry, Renée Fleming, Lindsay Mendez and Alexander Gemignani. The production was directed by Jack O'Brien and choreographed by Justin Peck. The songs "Geraniums in the Winder" and "There's Nothin' So Bad for a Woman" were cut from this revival. Ben Brantley wrote in The New York Times, "The tragic inevitability of Carousel has seldom come across as warmly or as chillingly as it does in this vividly reimagined revival. ... [W]ith thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show's center has never seemed quite as ill-starred or, at the same time, as sexy. ... [T]he Starkeeper ... assumes new visibility throughout, taking on the role of Billy's angelic supervisor." Brantley strongly praised the choreography, all the performances and the designers. He was unconvinced, however, by the "mother-daughter dialogue that falls so abrasively on contemporary ears", where Julie tries to justify loving an abusive man, and other scenes in Act 2, particularly those set in heaven, and the optimism of the final scene. Most of the reviewers agreed that while the choreography and performances (especially the singing) were excellent, characterizing the production as sexy and sumptuous, O'Brien's direction did little to help the show deal with modern sensibilities about men's treatment of women, instead indulging in nostalgia. From July to September 2021 the Regent's Park Open Air Theatre in London is presenting a staging by its artistic director Timothy Sheader, with choreography by Drew McOnie. The cast includes Carly Bawden as Julie, Declan Bennett as Billy and Joanna Riding as Nettie. Film, television and concert versions [[File:Boothbay Harbor in Summer.jpg|thumb|upright=1.2|Boothbay Harbor, Maine, where the location shots for Carousels movie version were filmed]] A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma! It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando and conducted by Rob Fisher. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. Music and recordings Musical treatment Rodgers designed Carousel to be an almost continuous stream of music, especially in Act 1. In later years, Rodgers was asked if he had considered writing an opera. He stated that he had been sorely tempted to, but saw Carousel in operatic terms. He remembered, "We came very close to opera in the Majestic Theatre. ... There's much that is operatic in the music." Rodgers uses music in Carousel in subtle ways to differentiate characters and tell the audience of their emotional state. In "You're a Queer One, Julie Jordan", the music for the placid Carrie is characterized by even eighth-note rhythms, whereas the emotionally restless Julie's music is marked by dotted eighths and sixteenths; this rhythm will characterize her throughout the show. When Billy whistles a snatch of the song, he selects Julie's dotted notes rather than Carrie's. Reflecting the close association in the music between Julie and the as-yet unborn Louise, when Billy sings in "Soliloquy" of his daughter, who "gets hungry every night", he uses Julie's dotted rhythms. Such rhythms also characterize Julie's Act 2 song, "What's the Use of Wond'rin'". The stable love between Enoch and Carrie is strengthened by her willingness to let Enoch not only plan his entire life, but hers as well. This is reflected in "When the Children Are Asleep", where the two sing in close harmony, but Enoch musically interrupts his intended's turn at the chorus with the words "Dreams that won't be interrupted". Rodgers biographer Geoffrey Block, in his book on the Broadway musical, points out that though Billy may strike his wife, he allows her musical themes to become a part of him and never interrupts her music. Block suggests that, as reprehensible as Billy may be for his actions, Enoch requiring Carrie to act as "the little woman", and his having nine children with her (more than she had found acceptable in "When the Children are Asleep") can be considered to be even more abusive. The twelve-minute "bench scene", in which Billy and Julie get to know each other and which culminates with "If I Loved You", according to Hischak, "is considered the most completely integrated piece of music-drama in the American musical theatre". The scene is almost entirely drawn from Molnár and is one extended musical piece; Stephen Sondheim described it as "probably the single most important moment in the revolution of contemporary musicals". "If I Loved You" has been recorded many times, by such diverse artists as Frank Sinatra, Barbra Streisand, Sammy Davis Jr., Mario Lanza and Chad and Jeremy. The D-flat major theme that dominates the music for the second act ballet seems like a new melody to many audience members. It is, however, a greatly expanded development of a theme heard during "Soliloquy" at the line "I guess he'll call me 'The old man' ". When the pair discussed the song that would become "Soliloquy", Rodgers improvised at the piano to give Hammerstein an idea of how he envisioned the song. When Hammerstein presented his collaborator with the lyrics after two weeks of work (Hammerstein always wrote the words first, then Rodgers would write the melodies), Rodgers wrote the music for the eight-minute song in two hours. "What's the Use of Wond'rin' ", one of Julie's songs, worked well in the show but was never as popular on the radio or for recording, and Hammerstein believed that the lack of popularity was because he had concluded the final line, "And all the rest is talk" with a hard consonant, which does not allow the singer a vocal climax. Irving Berlin later stated that "You'll Never Walk Alone" had the same sort of effect on him as the 23rd Psalm. When singer Mel Tormé told Rodgers that "You'll Never Walk Alone" had made him cry, Rodgers nodded impatiently. "You're supposed to." The frequently recorded song has become a widely accepted hymn.Rodgers, p. 240 The cast recording of Carousel proved popular in Liverpool, like many Broadway albums, and in 1963, the Brian Epstein-managed band, Gerry and the Pacemakers had a number-one hit with the song. At the time, the top ten hits were played before Liverpool F.C. home matches; even after "You'll Never Walk Alone" dropped out of the top ten, fans continued to sing it, and it has become closely associated with the soccer team and the city of Liverpool. A BBC program, Soul Music, ranked it alongside "Silent Night" and "Abide With Me" in terms of its emotional impact and iconic status. Recordings The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut—as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.Fick, David. "The Best Carousel Recording", June 11, 2009. Retrieved on April 7, 2016 A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousels songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle. Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. Critical reception and legacy The musical received almost unanimous rave reviews after its opening in 1945. According to Hischak, reviews were not as exuberant as for Oklahoma! as the critics were not taken by surprise this time. John Chapman of the Daily News termed it "one of the finest musical plays I have ever seen and I shall remember it always". The New York Times's reviewer, Lewis Nichols, stated that "Richard Rodgers and Oscar Hammerstein 2d, who can do no wrong, have continued doing no wrong in adapting Liliom into a musical play. Their Carousel is on the whole delightful." Wilella Waldorf of the New York Post, however, complained, "Carousel seemed to us a rather long evening. The Oklahoma! formula is becoming a bit monotonous and so are Miss de Mille's ballets. All right, go ahead and shoot!"Suskin, Steven. Opening Night on Broadway. Schirmer Trade Books, 1990, p. 147. . Dance Magazine gave Linn plaudits for her role as Louise, stating, "Bambi doesn't come on until twenty minutes before eleven, and for the next forty minutes, she practically holds the audience in her hand". Howard Barnes in the New York Herald Tribune also applauded the dancing: "It has waited for Miss de Mille to come through with peculiarly American dance patterns for a musical show to become as much a dance as a song show." When the musical returned to New York in 1949, The New York Times reviewer Brooks Atkinson described Carousel as "a conspicuously superior musical play ... Carousel, which was warmly appreciated when it opened, seems like nothing less than a masterpiece now." In 1954, when Carousel was revived at City Center, Atkinson discussed the musical in his review: Carousel has no comment to make on anything of topical importance. The theme is timeless and universal: the devotion of two people who love each other through thick and thin, complicated in this case by the wayward personality of the man, who cannot fulfill the responsibilities he has assumed.  ... Billy is a bum, but Carousel recognizes the decency of his motives and admires his independence. There are no slick solutions in Carousel. Stephen Sondheim noted the duo's ability to take the innovations of Oklahoma! and apply them to a serious setting: "Oklahoma! is about a picnic, Carousel is about life and death." Critic Eric Bentley, on the other hand, wrote that "the last scene of Carousel is an impertinence: I refuse to be lectured to by a musical comedy scriptwriter on the education of children, the nature of the good life, and the contribution of the American small town to the salvation of souls."New York Times critic Frank Rich said of the 1992 London production: "What is remarkable about Mr. Hytner's direction, aside from its unorthodox faith in the virtues of simplicity and stillness, is its ability to make a 1992 audience believe in Hammerstein's vision of redemption, which has it that a dead sinner can return to Earth to do godly good." The Hytner production in New York was hailed by many critics as a grittier Carousel, which they deemed more appropriate for the 1990s. Clive Barnes of the New York Post called it a "defining Carousel—hard-nosed, imaginative, and exciting." Critic Michael Billington has commented that "lyrically [Carousel] comes perilously close to acceptance of the inevitability of domestic violence." BroadwayWorld.com stated in 2013 that Carousel is now "considered somewhat controversial in terms of its attitudes on domestic violence" because Julie chooses to stay with Billy despite the abuse; actress Kelli O'Hara noted that the domestic violence that Julie "chooses to deal with – is a real, existing and very complicated thing. And exploring it is an important part of healing it." Rodgers considered Carousel his favorite of all his musicals and wrote, "it affects me deeply every time I see it performed". In 1999, Time magazine, in its "Best of the Century" list, named Carousel the Best Musical of the 20th century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical, and this show features their most beautiful score and the most skillful and affecting example of their musical storytelling". Hammerstein's grandson, Oscar Andrew Hammerstein, in his book about his family, suggested that the wartime situation made Carousel's ending especially poignant to its original viewers, "Every American grieved the loss of a brother, son, father, or friend ... the audience empathized with [Billy's] all-too-human efforts to offer advice, to seek forgiveness, to complete an unfinished life, and to bid a proper good-bye from beyond the grave." Author and composer Ethan Mordden agreed with that perspective: If Oklahoma! developed the moral argument for sending American boys overseas, Carousel offered consolation to those wives and mothers whose boys would only return in spirit. The meaning lay not in the tragedy of the present, but in the hope for a future where no one walks alone. Awards and nominations Original 1945 Broadway productionNote: The Tony Awards were not established until 1947, and so Carousel was not eligible to win any Tonys at its premiere. 1957 revival 1992 London revival 1994 Broadway revival 2018 Broadway revival References Bibliography Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. New York: Oxford University Press US, 2004. . Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press US, 2006. . Bradley, Ian. You've Got to Have a Dream: The Message of the Broadway Musical. Louisville, Ky., Westminster John Knox Press, 2005. 978-0-664-22854-5. Easton, Carol. No Intermission: The Life of Agnes DeMille. Jefferson, N.C.: Da Capo Press, 2000 (1st DaCapo Press edition). . Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. . Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. . Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. . Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. . Molnár, Ferenc. Liliom: A Legend in Seven Scenes and a Prologue. New York: Boni and Liveright, 1921. Mordden, Ethan. "Rodgers & Hammerstein". New York: Harry N. Abrams, Inc., 1992. . Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2002. . Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. . Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2001. . External links Carousel at guidetomusicaltheatre.com Carousel info page on StageAgent.com – Carousel plot summary and character descriptions (1967 TV adaptation) 1945 musicals Broadway musicals Musicals by Rodgers and Hammerstein West End musicals Musicals based on plays Grammy Hall of Fame Award recipients Maine in fiction Fiction set in 1873 Fiction about the afterlife Plays set in Maine Plays set in the 19th century Tony Award-winning musicals

C_8decf249a7ee4c6bb84aa0f61f4f4d6c_1

Wa it remde after that?

Was the film version remade after 1956?

Carousel (musical)

A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. CANNOTANSWER

The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews,

Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that Carousel was his favorite of all his musicals. Following the spectacular success of the first Rodgers and Hammerstein musical, Oklahoma! (1943), the pair sought to collaborate on another piece, knowing that any resulting work would be compared with Oklahoma!, most likely unfavorably. They were initially reluctant to seek the rights to Liliom; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful. The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. Carousel initially ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as Oklahoma!, the piece has been repeatedly revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in London, in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, Time magazine named Carousel the best musical of the 20th century. Background Liliom Ferenc Molnár's Hungarian-language drama, Liliom, premiered in Budapest in 1909. The audience was puzzled by the work, and it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. Liliom was not presented again until after World War I. When it reappeared on the Budapest stage, it was a tremendous hit. Except for the ending, the plots of Liliom and Carousel are very similar. Andreas Zavocky (nicknamed Liliom, the Hungarian word for "lily", a slang term for "tough guy"), a carnival barker, falls in love with Julie Zeller, a servant girl, and they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, and Liliom stabs himself. He dies, and his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory. On his return to Earth, Liliom encounters his daughter, Louise, who like her mother is now a factory worker. Saying that he knew her father, he tries to give her a star he stole from the heavens. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie confronts him, but finds herself unable to be angry with him. Liliom is ushered off to his fate, presumably Hell, and Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is very possible for that to happen. An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, uncredited, was Rodgers' first major partner Lorenz Hart. The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, and the play was a success, running 300 performances. A 1940 revival with Burgess Meredith and Ingrid Bergman was seen by both Hammerstein and Rodgers. Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell; Liliom crying out to the distant carousel the glad news that he is to be a father; the two thieves gambling for the spoils of their prospective robbery; Marie and Wolf posing for their portrait while the broken-hearted Julie stands looking after the vanishing Liliom, the thieves' song ringing in her ears; the two policemen grousing about pay and pensions while Liliom lies bleeding to death; Liliom furtively proffering his daughter the star he has stolen for her in heaven. ... The temptation to count the whole scintillating string is difficult to resist. Inception In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940). Some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot (in the "Slaughter on Tenth Avenue" scene), while Pal Joey flouted Broadway tradition by presenting a knave as its hero. Hammerstein had written or co-written the words for such hits as Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, "The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good. By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, becoming unreliable and prompting Rodgers to approach Hammerstein to ask if he would consider working with him. Hammerstein was eager to do so, and their first collaboration was Oklahoma! (1943). Thomas Hischak states, in his The Rodgers and Hammerstein Encyclopedia, that Oklahoma! is "the single most influential work in the American musical theatre. In fact, the history of the Broadway musical can accurately be divided into what came before Oklahoma! and what came after it." An innovation for its time in integrating song, character, plot and dance, Oklahoma! would serve, according to Hischak, as "the model for Broadway shows for decades", and proved a huge popular and financial success. Once it was well-launched, what to do as an encore was a daunting challenge for the pair. Film producer Samuel Goldwyn saw Oklahoma! and advised Rodgers to shoot himself, which according to Rodgers "was Sam's blunt but funny way of telling me that I'd never create another show as good as Oklahoma!" As they considered new projects, Hammerstein wrote, "We're such fools. No matter what we do, everyone is bound to say, 'This is not another Oklahoma! " Oklahoma! had been a struggle to finance and produce. Hammerstein and Rodgers met weekly in 1943 with Theresa Helburn and Lawrence Langner of the Theatre Guild, producers of the blockbuster musical, who together formed what they termed "the Gloat Club". At one such luncheon, Helburn and Langner proposed to Rodgers and Hammerstein that they turn Molnár's Liliom into a musical. Both men refused—they had no feeling for the Budapest setting and thought that the unhappy ending was unsuitable for musical theatre. In addition, given the unstable wartime political situation, they might need to change the setting from Hungary while in rehearsal. At the next luncheon, Helburn and Langner again proposed Liliom, suggesting that they move the setting to Louisiana and make Liliom a Creole. Rodgers and Hammerstein played with the idea over the next few weeks, but decided that Creole dialect, filled with "zis" and "zose", would sound corny and would make it difficult to write effective lyrics. A breakthrough came when Rodgers, who owned a house in Connecticut, proposed a New England setting. Hammerstein wrote of this suggestion in 1945, I began to see an attractive ensemble—sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute ... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music. Molnár's opposition to having his works adapted was also an issue; he had famously turned down Giacomo Puccini when the great composer wished to transform Liliom into an opera, stating that he wanted the piece to be remembered as his, not Puccini's. In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from Kurt Weill to adapt the play into a musical. The pair continued to work on the preliminary ideas for a Liliom adaptation while pursuing other projects in late 1943 and early 1944—writing the film musical State Fair and producing I Remember Mama on Broadway. Meanwhile, the Theatre Guild took Molnár to see Oklahoma! Molnár stated that if Rodgers and Hammerstein could adapt Liliom as beautifully as they had modified Green Grow the Lilacs into Oklahoma!, he would be pleased to have them do it. The Guild obtained the rights from Molnár in October 1943. The playwright received one percent of the gross and $2,500 for "personal services". The duo insisted, as part of the contract, that Molnár permit them to make changes in the plot. At first, the playwright refused, but eventually yielded. Hammerstein later stated that if this point had not been won, "we could never have made Carousel." In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in Pal Joey. Rodgers and Hart had overcome the problem with a song that Joey sings to himself, "I'm Talking to My Pal". This inspired "Soliloquy". Both partners later told a story that "Soliloquy" was only intended to be a song about Liliom's dreams of a son, but that Rodgers, who had two daughters, insisted that Liliom consider that Julie might have a girl. However, the notes taken at their meeting of December 7, 1943 state: "Mr. Rodgers suggested a fine musical number for the end of the scene where Liliom discovers he is to be a father, in which he sings first with pride of the growth of a boy, and then suddenly realizes it might be a girl and changes completely." Hammerstein and Rodgers returned to the Liliom project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results. Green Grow the Lilacs had been a little-known work; Liliom was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy. Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in Liliom; they became Enoch Snow and Carrie Pipperidge. "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for Oklahoma! but not used. Molnár's ending was unsuitable, and after a couple of false starts, Hammerstein conceived the graduation scene that ends the musical. According to Frederick Nolan in his book on the team's works: "From that scene the song "You'll Never Walk Alone" sprang almost naturally." In spite of Hammerstein's simple lyrics for "You'll Never Walk Alone", Rodgers had great difficulty in setting it to music. Rodgers explained his rationale for the changed ending, Liliom was a tragedy about a man who cannot learn to live with other people. The way Molnár wrote it, the man ends up hitting his daughter and then having to go back to purgatory, leaving his daughter helpless and hopeless. We couldn't accept that. The way we ended Carousel it may still be a tragedy but it's a hopeful one because in the final scene it is clear that the child has at last learned how to express herself and communicate with others. When the pair decided to make "This Was a Real Nice Clambake" into an ensemble number, Hammerstein realized he had no idea what a clambake was like, and researched the matter. Based on his initial findings, he wrote the line, "First came codfish chowder". However, further research convinced him the proper term was "codhead chowder", a term unfamiliar to many playgoers. He decided to keep it as "codfish". When the song proceeded to discuss the lobsters consumed at the feast, Hammerstein wrote the line "We slit 'em down the back/And peppered 'em good". He was grieved to hear from a friend that lobsters are always slit down the front. The lyricist sent a researcher to a seafood restaurant and heard back that lobsters are always slit down the back. Hammerstein concluded that there is disagreement about which side of a lobster is the back. One error not caught involved the song "June Is Bustin' Out All Over", in which sheep are depicted as seeking to mate in late spring—they actually do so in the winter. Whenever this was brought to Hammerstein's attention, he told his informant that 1873 was a special year, in which sheep mated in the spring. Rodgers early decided to dispense with an overture, feeling that the music was hard to hear over the banging of seats as latecomers settled themselves. In his autobiography, Rodgers complained that only the brass section can be heard during an overture because there are never enough strings in a musical's small orchestra. He determined to force the audience to concentrate from the beginning by opening with a pantomime scene accompanied by what became known as "The Carousel Waltz". The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience. Author Ethan Mordden described the effectiveness of this opening: Other characters catch our notice—Mr. Bascombe, the pompous mill owner, Mrs. Mullin, the widow who runs the carousel and, apparently, Billy; a dancing bear; an acrobat. But what draws us in is the intensity with which Julie regards Billy—the way she stands frozen, staring at him, while everyone else at the fair is swaying to the rhythm of Billy's spiel. And as Julie and Billy ride together on the swirling carousel, and the stage picture surges with the excitement of the crowd, and the orchestra storms to a climax, and the curtain falls, we realize that R & H have not only skipped the overture and the opening number but the exposition as well. They have plunged into the story, right into the middle of it, in the most intense first scene any musical ever had. Casting and out-of-town tryouts The casting for Carousel began when Oklahoma!s production team, including Rodgers and Hammerstein, was seeking a replacement for the part of Curly (the male lead in Oklahoma!). Lawrence Langner had heard, through a relative, of a California singer named John Raitt, who might be suitable for the part. Langner went to hear Raitt, then urged the others to bring Raitt to New York for an audition. Raitt asked to sing "Largo al factotum", Figaro's aria from The Barber of Seville, to warm up. The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed). Theresa Helburn made another California discovery, Jan Clayton, a singer/actress who had made a few minor films for MGM. She was brought east and successfully auditioned for the part of Julie. The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of Pal Joey), had ever played on Broadway before. It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, John Fearnley, that the sole qualification for a dancing boy was that he be alive. Rodgers and Hammerstein reassembled much of the creative team that had made Oklahoma! a success, including director Rouben Mamoulian and choreographer Agnes de Mille. Miles White was the costume designer while Jo Mielziner (who had not worked on Oklahoma!) was the scenic and lighting designer. Even though Oklahoma! orchestrator Russell Bennett had informed Rodgers that he was unavailable to work on Carousel due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by Don Walker. A new member of the creative team was Trude Rittmann, who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s. Rehearsals began in January 1945; either Rodgers or Hammerstein was always present. Raitt was presented with the lyrics for "Soliloquy" on a five-foot long sheet of paper—the piece ran nearly eight minutes. Staging such a long solo number presented problems, and Raitt later stated that he felt that they were never fully addressed. At some point during rehearsals, Molnár came to see what they had done to his play. There are a number of variations on the story.Fordin, pp. 231–32 As Rodgers told it, while watching rehearsals with Hammerstein, the composer spotted Molnár in the rear of the theatre and whispered the news to his partner. Both sweated through an afternoon of rehearsal in which nothing seemed to go right. At the end, the two walked to the back of the theatre, expecting an angry reaction from Molnár. Instead, the playwright said enthusiastically, "What you have done is so beautiful. And you know what I like best? The ending!" Hammerstein wrote that Molnár became a regular attendee at rehearsals after that. Like most of the pair's works, Carousel contains a lengthy ballet, "Billy Makes a Journey", in the second act, as Billy looks down to the Earth from "Up There" and observes his daughter. In the original production the ballet was choreographed by de Mille. It began with Billy looking down from heaven at his wife in labor, with the village women gathered for a "birthing". The ballet involved every character in the play, some of whom spoke lines of dialogue, and contained a number of subplots. The focus was on Louise, played by Bambi Linn, who at first almost soars in her dance, expressing the innocence of childhood. She is teased and mocked by her schoolmates, and Louise becomes attracted to the rough carnival people, who symbolize Billy's world. A youth from the carnival attempts to seduce Louise, as she discovers her own sexuality, but he decides she is more girl than woman, and he leaves her. After Julie comforts her, Louise goes to a children's party, where she is shunned. The carnival people reappear and form a ring around the children's party, with Louise lost between the two groups. At the end, the performers form a huge carousel with their bodies. The play opened for tryouts in New Haven, Connecticut on March 22, 1945. The first act was well-received; the second act was not. Casto recalled that the second act finished about 1:30 a.m. The staff immediately sat down for a two-hour conference. Five scenes, half the ballet, and two songs were cut from the show as the result. John Fearnley commented, "Now I see why these people have hits. I never witnessed anything so brisk and brave in my life." De Mille said of this conference, "not three minutes had been wasted pleading for something cherished. Nor was there any idle joking. ... We cut and cut and cut and then we went to bed." By the time the company left New Haven, de Mille's ballet was down to forty minutes. A major concern with the second act was the effectiveness of the characters He and She (later called by Rodgers "Mr. and Mrs. God"), before whom Billy appeared after his death. Mr. and Mrs. God were depicted as a New England minister and his wife, seen in their parlor.Block (ed.), p. 129. At this time, according to the cast sheet distributed during the Boston run, Dr. Seldon was listed as the "Minister". The couple was still part of the show at the Boston opening. Rodgers said to Hammerstein, "We've got to get God out of that parlor". When Hammerstein inquired where he should put the deity, Rodgers replied, "I don't care where you put Him. Put Him on a ladder for all I care, only get Him out of that parlor!" Hammerstein duly put Mr. God (renamed the Starkeeper) atop a ladder, and Mrs. God was removed from the show. Rodgers biographer Meryle Secrest terms this change a mistake, leading to a more fantastic afterlife, which was later criticized by The New Republic as "a Rotarian atmosphere congenial to audiences who seek not reality but escape from reality, not truth but escape from truth". Hammerstein wrote that Molnár's advice, to combine two scenes into one, was key to pulling together the second act and represented "a more radical departure from the original than any change we had made". A reprise of "If I Loved You" was added in the second act, which Rodgers felt needed more music. Three weeks of tryouts in Boston followed the brief New Haven run, and the audience there gave the musical a warm reception. An even shorter version of the ballet was presented the final two weeks in Boston, but on the final night there, de Mille expanded it back to forty minutes, and it brought the house down, causing both Rodgers and Hammerstein to embrace her. Synopsis Act 1 Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("If I Loved You"). Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news—she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep"). Jigger and his shipmates, joined by Billy, then sing about life on the sea ("Blow High, Blow Low"). The whaler tries to recruit Billy to help with a robbery, but Billy declines, as the victim—Julie's former boss, Mr. Bascombe—might have to be killed. Mrs. Mullin enters and tries to tempt Billy back to the carousel (and to her). He would have to abandon Julie; a married barker cannot evoke the same sexual tension as one who is single. Billy reluctantly mulls it over as Julie arrives and the others leave. She tells him that she is pregnant, and Billy is overwhelmed with happiness, ending all thoughts of returning to the carousel. Once alone, Billy imagines the fun he will have with Bill Jr.—until he realizes that his child might be a girl, and reflects soberly that "you've got to be a father to a girl" ("Soliloquy"). Determined to provide financially for his future child, whatever the means, Billy decides to be Jigger's accomplice. The whole town leaves for the clambake. Billy, who had earlier refused to go, agrees to join in, to Julie's delight, as he realizes that being seen at the clambake is integral to his and Jigger's alibi ("Act I Finale"). Act 2 Everyone reminisces about the huge meal and much fun ("This Was a Real Nice Clambake"). Jigger tries to seduce Carrie; Enoch walks in at the wrong moment, and declares that he is finished with her ("Geraniums In the Winder"), as Jigger jeers ("There's Nothin' So Bad for a Woman"). The girls try to comfort Carrie, but for Julie all that matters is that "he's your feller and you love him" ("What's the Use of Wond'rin'?"). Julie sees Billy trying to sneak away with Jigger and, trying to stop him, feels the knife hidden in his shirt. She begs him to give it to her, but he refuses and leaves to commit the robbery. As they wait, Jigger and Billy gamble with cards. They stake their shares of the anticipated robbery spoils. Billy loses: his participation is now pointless. Unknown to Billy and Jigger, Mr. Bascombe, the intended victim, has already deposited the mill's money. The robbery fails: Bascombe pulls a gun on Billy while Jigger escapes. Billy stabs himself with his knife; Julie arrives just in time for him to say his last words to her and die. Julie strokes his hair, finally able to tell him that she loved him. Carrie and Enoch, reunited by the crisis, attempt to console Julie; Nettie arrives and gives Julie the resolve to keep going despite her despair ("You'll Never Walk Alone"). Billy's defiant spirit ("The Highest Judge of All") is taken Up There to see the Starkeeper, a heavenly official. The Starkeeper tells Billy that the good he did in life was not enough to get into heaven, but so long as there is a person alive who remembers him, he can return for a day to try to do good to redeem himself. He informs Billy that fifteen years have passed on Earth since his suicide, and suggests that Billy can get himself into heaven if he helps his daughter, Louise. He helps Billy look down from heaven to see her (instrumental ballet: "Billy Makes a Journey"). Louise has grown up to be lonely and bitter. The local children ostracize her because her father was a thief and a wife-beater. In the dance, a young ruffian, much like her father at that age, flirts with her and abandons her as too young. The dance concludes, and Billy is anxious to return to Earth and help his daughter. He steals a star to take with him, as the Starkeeper pretends not to notice. Outside Julie's cottage, Carrie describes her visit to New York with the now-wealthy Enoch. Carrie's husband and their many children enter to fetch her—the family must get ready for the high school graduation later that day. Enoch Jr., the oldest son, remains behind to talk with Louise, as Billy and the Heavenly Friend escorting him enter, invisible to the other characters. Louise confides in Enoch Jr. that she plans to run away from home with an acting troupe. He says that he will stop her by marrying her, but that his father will think her an unsuitable match. Louise is outraged: each insults the other's father, and Louise orders Enoch Jr. to go away. Billy, able to make himself visible at will, reveals himself to the sobbing Louise, pretending to be a friend of her father. He offers her a gift—the star he stole from heaven. She refuses it and, frustrated, he slaps her hand. He makes himself invisible, and Louise tells Julie what happened, stating that the slap miraculously felt like a kiss, not a blow—and Julie understands her perfectly. Louise retreats to the house, as Julie notices the star that Billy dropped; she picks it up and seems to feel Billy's presence ("If I Loved You (Reprise)"). Billy invisibly attends Louise's graduation, hoping for one last chance to help his daughter and redeem himself. The beloved town physician, Dr. Seldon (who resembles the Starkeeper) advises the graduating class not to rely on their parents' success or be held back by their failure (words directed at Louise). Seldon prompts everyone to sing an old song, "You'll Never Walk Alone". Billy, still invisible, whispers to Louise, telling her to believe Seldon's words, and when she tentatively reaches out to another girl, she learns she does not have to be an outcast. Billy goes to Julie, telling her at last that he loved her. As his widow and daughter join in the singing, Billy is taken to his heavenly reward. Principal roles and notable performers ° denotes original Broadway cast Musical numbers Act I"List of Songs", Carousel at the IBDB Database. Retrieved July 18, 2012 "The Carousel Waltz" – Orchestra "You're a Queer One, Julie Jordan" – Carrie Pipperidge and Julie Jordan "(When I Marry) Mister Snow" – Carrie "If I Loved You" – Billy Bigelow and Julie "June Is Bustin' Out All Over" – Nettie Fowler and Chorus "(When I Marry) Mister Snow" (reprise) – Carrie, Enoch Snow and Female Chorus "When the Children Are Asleep" – Enoch and Carrie "Blow High, Blow Low" – Jigger Craigin, Billy and Male Chorus "Soliloquy" – BillyAct II "This Was a Real Nice Clambake" – Carrie, Nettie, Julie, Enoch and Chorus "Geraniums in the Winder" – Enoch * "There's Nothin' So Bad for a Woman" – Jigger and Chorus "What's the Use of Wond'rin'?" – Julie "You'll Never Walk Alone" – Nettie "The Highest Judge of All" – Billy Ballet: "Billy Makes a Journey" – Orchestra "If I Loved You" (reprise) – Billy Finale: "You'll Never Walk Alone" (reprise) – Company Productions Early productions The original Broadway production opened at the Majestic Theatre on April 19, 1945. The dress rehearsal the day before had gone badly, and the pair feared the new work would not be well received. One successful last-minute change was to have de Mille choreograph the pantomime. The movement of the carnival crowd in the pantomime had been entrusted to Mamoulian, and his version was not working. Rodgers had injured his back the previous week, and he watched the opening from a stretcher propped in a box behind the curtain. Sedated with morphine, he could see only part of the stage. As he could not hear the audience's applause and laughter, he assumed the show was a failure. It was not until friends congratulated him later that evening that he realized that the curtain had been met by wild applause. Bambi Linn, who played Louise, was so enthusiastically received by the audience during her ballet that she was forced to break character, when she next appeared, and bow. Rodgers' daughter Mary caught sight of her friend, Stephen Sondheim, both teenagers then, across several rows; both had eyes wet with tears. The original production ran for 890 performances, closing on May 24, 1947. The original cast included John Raitt (Billy), Jan Clayton (Julie), Jean Darling (Carrie), Eric Mattson (Enoch Snow), Christine Johnson (Nettie Fowler), Murvyn Vye (Jigger), Bambi Linn (Louise) and Russell Collins (Starkeeper). In December 1945, Clayton left to star in the Broadway revival of Show Boat and was replaced by Iva Withers; Raitt was replaced by Henry Michel in January 1947; Darling was replaced by Margot Moser.Hischak, p. 62 After closing on Broadway, the show went on a national tour for two years. It played for five months in Chicago alone, visited twenty states and two Canadian cities, covered and played to nearly two million people. The touring company had a four-week run at New York City Center in January 1949. Following the City Center run, the show was moved back to the Majestic Theatre in the hopes of filling the theatre until South Pacific opened in early April. However, ticket sales were mediocre, and the show closed almost a month early. The musical premiered in the West End, London, at the Theatre Royal, Drury Lane on June 7, 1950. The production was restaged by Jerome Whyte, with a cast that included Stephen Douglass (Billy), Iva Withers (Julie) and Margot Moser (Carrie). Carousel ran in London for 566 performances, remaining there for over a year and a half. Subsequent productions Carousel was revived in 1954 and 1957 at City Center, presented by the New York City Center Light Opera Company. Both times, the production featured Barbara Cook, though she played Carrie in 1954 and Julie in 1957 (playing alongside Howard Keel as Billy). The production was then taken to Belgium to be performed at the 1958 Brussels World's Fair, with David Atkinson as Billy, Ruth Kobart as Nettie, and Clayton reprising the role of Julie, which she had originated. In August 1965, Rodgers and the Music Theater of Lincoln Center produced Carousel for 47 performances. John Raitt reprised the role of Billy, with Jerry Orbach as Jigger and Reid Shelton as Enoch Snow. The roles of the Starkeeper and Dr. Seldon were played by Edward Everett Horton in his final stage appearance. The following year, New York City Center Light Opera Company brought Carousel back to City Center for 22 performances, with Bruce Yarnell as Billy and Constance Towers as Julie. Nicholas Hytner directed a new production of Carousel in 1992, at London's Royal National Theatre, with choreography by Sir Kenneth MacMillan and designs by Bob Crowley. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival. As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride.Block, p. 175 Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel. Michael Hayden played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode. Hayden, Joanna Riding (Julie) and Janie Dee (Carrie) all won Olivier Awards for their performances. Patricia Routledge played Nettie. Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in The New York Times, looked like "a walking United Colors of Benetton ad". Clive Rowe, as Enoch, was nominated for an Olivier Award. The production's limited run from December 1992 through March 1993 was a sellout. It re-opened at the Shaftesbury Theatre in London in September 1993, presented by Cameron Mackintosh, where it continued until May 1994. The Hytner production moved to New York's Vivian Beaumont Theater, where it opened on March 24, 1994, and ran for 322 performances. This won five Tony Awards, including best musical revival, as well as awards for Hytner, MacMillan, Crowley and Audra McDonald (as Carrie). The cast also included Sally Murphy as Julie, Shirley Verrett as Nettie, Fisher Stevens as Jigger and Eddie Korbich as Enoch. One change made from the London to the New York production was to have Billy strike Louise across the face, rather than on the hand. According to Hayden, "He does the one unpardonable thing, the thing we can't forgive. It's a challenge for the audience to like him after that." The Hytner Carousel was presented in Japan in May 1995. A U.S. national tour with a scaled-down production began in February 1996 in Houston and closed in May 1997 in Providence, Rhode Island. Producers sought to feature young talent on the tour, with Patrick Wilson as Billy and Sarah Uriarte Berry, and later Jennifer Laura Thompson, as Julie. A revival opened at London's Savoy Theatre on December 2, 2008, after a week of previews, starring Jeremiah James (Billy), Alexandra Silber (Julie) and Lesley Garrett (Nettie). The production received warm to mixed reviews. It closed in June 2009, a month early. Michael Coveney, writing in The Independent, admired Rodgers' music but stated, "Lindsay Posner's efficient revival doesn't hold a candle to the National Theatre 1992 version". A production at Theater Basel, Switzerland, in 2016 to 2017, with German dialogue, was directed by Alexander Charim and choreographed by Teresa Rotemberg. Bryony Dwyer, Christian Miedl and Cheryl Studer starred, respectively, as Julie Jordan, Billy Bigelow and Nettie Fowler.<ref>[http://operabase.com/diary.cgi?lang=en&code=wsba&date=20161215 "Richard Rodgers: Carousel"] , Diary: Theater Basel, Operabase.com. Retrieved on March 8, 2018</ref> A semi-staged revival by the English National Opera opened at the London Coliseum in 2017. The production was directed by Lonny Price, conducted by David Charles Abell, and starred Alfie Boe as Billy, Katherine Jenkins as Julie and Nicholas Lyndhurst as the Starkeeper. The production received mixed to positive reviews. The third Broadway revival began previews in February 2018 at the Imperial Theatre and officially opened on April 12. It closed on September 16, 2018. The production starred Jessie Mueller, Joshua Henry, Renée Fleming, Lindsay Mendez and Alexander Gemignani. The production was directed by Jack O'Brien and choreographed by Justin Peck. The songs "Geraniums in the Winder" and "There's Nothin' So Bad for a Woman" were cut from this revival. Ben Brantley wrote in The New York Times, "The tragic inevitability of Carousel has seldom come across as warmly or as chillingly as it does in this vividly reimagined revival. ... [W]ith thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show's center has never seemed quite as ill-starred or, at the same time, as sexy. ... [T]he Starkeeper ... assumes new visibility throughout, taking on the role of Billy's angelic supervisor." Brantley strongly praised the choreography, all the performances and the designers. He was unconvinced, however, by the "mother-daughter dialogue that falls so abrasively on contemporary ears", where Julie tries to justify loving an abusive man, and other scenes in Act 2, particularly those set in heaven, and the optimism of the final scene. Most of the reviewers agreed that while the choreography and performances (especially the singing) were excellent, characterizing the production as sexy and sumptuous, O'Brien's direction did little to help the show deal with modern sensibilities about men's treatment of women, instead indulging in nostalgia. From July to September 2021 the Regent's Park Open Air Theatre in London is presenting a staging by its artistic director Timothy Sheader, with choreography by Drew McOnie. The cast includes Carly Bawden as Julie, Declan Bennett as Billy and Joanna Riding as Nettie. Film, television and concert versions [[File:Boothbay Harbor in Summer.jpg|thumb|upright=1.2|Boothbay Harbor, Maine, where the location shots for Carousels movie version were filmed]] A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma! It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando and conducted by Rob Fisher. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. Music and recordings Musical treatment Rodgers designed Carousel to be an almost continuous stream of music, especially in Act 1. In later years, Rodgers was asked if he had considered writing an opera. He stated that he had been sorely tempted to, but saw Carousel in operatic terms. He remembered, "We came very close to opera in the Majestic Theatre. ... There's much that is operatic in the music." Rodgers uses music in Carousel in subtle ways to differentiate characters and tell the audience of their emotional state. In "You're a Queer One, Julie Jordan", the music for the placid Carrie is characterized by even eighth-note rhythms, whereas the emotionally restless Julie's music is marked by dotted eighths and sixteenths; this rhythm will characterize her throughout the show. When Billy whistles a snatch of the song, he selects Julie's dotted notes rather than Carrie's. Reflecting the close association in the music between Julie and the as-yet unborn Louise, when Billy sings in "Soliloquy" of his daughter, who "gets hungry every night", he uses Julie's dotted rhythms. Such rhythms also characterize Julie's Act 2 song, "What's the Use of Wond'rin'". The stable love between Enoch and Carrie is strengthened by her willingness to let Enoch not only plan his entire life, but hers as well. This is reflected in "When the Children Are Asleep", where the two sing in close harmony, but Enoch musically interrupts his intended's turn at the chorus with the words "Dreams that won't be interrupted". Rodgers biographer Geoffrey Block, in his book on the Broadway musical, points out that though Billy may strike his wife, he allows her musical themes to become a part of him and never interrupts her music. Block suggests that, as reprehensible as Billy may be for his actions, Enoch requiring Carrie to act as "the little woman", and his having nine children with her (more than she had found acceptable in "When the Children are Asleep") can be considered to be even more abusive. The twelve-minute "bench scene", in which Billy and Julie get to know each other and which culminates with "If I Loved You", according to Hischak, "is considered the most completely integrated piece of music-drama in the American musical theatre". The scene is almost entirely drawn from Molnár and is one extended musical piece; Stephen Sondheim described it as "probably the single most important moment in the revolution of contemporary musicals". "If I Loved You" has been recorded many times, by such diverse artists as Frank Sinatra, Barbra Streisand, Sammy Davis Jr., Mario Lanza and Chad and Jeremy. The D-flat major theme that dominates the music for the second act ballet seems like a new melody to many audience members. It is, however, a greatly expanded development of a theme heard during "Soliloquy" at the line "I guess he'll call me 'The old man' ". When the pair discussed the song that would become "Soliloquy", Rodgers improvised at the piano to give Hammerstein an idea of how he envisioned the song. When Hammerstein presented his collaborator with the lyrics after two weeks of work (Hammerstein always wrote the words first, then Rodgers would write the melodies), Rodgers wrote the music for the eight-minute song in two hours. "What's the Use of Wond'rin' ", one of Julie's songs, worked well in the show but was never as popular on the radio or for recording, and Hammerstein believed that the lack of popularity was because he had concluded the final line, "And all the rest is talk" with a hard consonant, which does not allow the singer a vocal climax. Irving Berlin later stated that "You'll Never Walk Alone" had the same sort of effect on him as the 23rd Psalm. When singer Mel Tormé told Rodgers that "You'll Never Walk Alone" had made him cry, Rodgers nodded impatiently. "You're supposed to." The frequently recorded song has become a widely accepted hymn.Rodgers, p. 240 The cast recording of Carousel proved popular in Liverpool, like many Broadway albums, and in 1963, the Brian Epstein-managed band, Gerry and the Pacemakers had a number-one hit with the song. At the time, the top ten hits were played before Liverpool F.C. home matches; even after "You'll Never Walk Alone" dropped out of the top ten, fans continued to sing it, and it has become closely associated with the soccer team and the city of Liverpool. A BBC program, Soul Music, ranked it alongside "Silent Night" and "Abide With Me" in terms of its emotional impact and iconic status. Recordings The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut—as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.Fick, David. "The Best Carousel Recording", June 11, 2009. Retrieved on April 7, 2016 A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousels songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle. Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. Critical reception and legacy The musical received almost unanimous rave reviews after its opening in 1945. According to Hischak, reviews were not as exuberant as for Oklahoma! as the critics were not taken by surprise this time. John Chapman of the Daily News termed it "one of the finest musical plays I have ever seen and I shall remember it always". The New York Times's reviewer, Lewis Nichols, stated that "Richard Rodgers and Oscar Hammerstein 2d, who can do no wrong, have continued doing no wrong in adapting Liliom into a musical play. Their Carousel is on the whole delightful." Wilella Waldorf of the New York Post, however, complained, "Carousel seemed to us a rather long evening. The Oklahoma! formula is becoming a bit monotonous and so are Miss de Mille's ballets. All right, go ahead and shoot!"Suskin, Steven. Opening Night on Broadway. Schirmer Trade Books, 1990, p. 147. . Dance Magazine gave Linn plaudits for her role as Louise, stating, "Bambi doesn't come on until twenty minutes before eleven, and for the next forty minutes, she practically holds the audience in her hand". Howard Barnes in the New York Herald Tribune also applauded the dancing: "It has waited for Miss de Mille to come through with peculiarly American dance patterns for a musical show to become as much a dance as a song show." When the musical returned to New York in 1949, The New York Times reviewer Brooks Atkinson described Carousel as "a conspicuously superior musical play ... Carousel, which was warmly appreciated when it opened, seems like nothing less than a masterpiece now." In 1954, when Carousel was revived at City Center, Atkinson discussed the musical in his review: Carousel has no comment to make on anything of topical importance. The theme is timeless and universal: the devotion of two people who love each other through thick and thin, complicated in this case by the wayward personality of the man, who cannot fulfill the responsibilities he has assumed.  ... Billy is a bum, but Carousel recognizes the decency of his motives and admires his independence. There are no slick solutions in Carousel. Stephen Sondheim noted the duo's ability to take the innovations of Oklahoma! and apply them to a serious setting: "Oklahoma! is about a picnic, Carousel is about life and death." Critic Eric Bentley, on the other hand, wrote that "the last scene of Carousel is an impertinence: I refuse to be lectured to by a musical comedy scriptwriter on the education of children, the nature of the good life, and the contribution of the American small town to the salvation of souls."New York Times critic Frank Rich said of the 1992 London production: "What is remarkable about Mr. Hytner's direction, aside from its unorthodox faith in the virtues of simplicity and stillness, is its ability to make a 1992 audience believe in Hammerstein's vision of redemption, which has it that a dead sinner can return to Earth to do godly good." The Hytner production in New York was hailed by many critics as a grittier Carousel, which they deemed more appropriate for the 1990s. Clive Barnes of the New York Post called it a "defining Carousel—hard-nosed, imaginative, and exciting." Critic Michael Billington has commented that "lyrically [Carousel] comes perilously close to acceptance of the inevitability of domestic violence." BroadwayWorld.com stated in 2013 that Carousel is now "considered somewhat controversial in terms of its attitudes on domestic violence" because Julie chooses to stay with Billy despite the abuse; actress Kelli O'Hara noted that the domestic violence that Julie "chooses to deal with – is a real, existing and very complicated thing. And exploring it is an important part of healing it." Rodgers considered Carousel his favorite of all his musicals and wrote, "it affects me deeply every time I see it performed". In 1999, Time magazine, in its "Best of the Century" list, named Carousel the Best Musical of the 20th century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical, and this show features their most beautiful score and the most skillful and affecting example of their musical storytelling". Hammerstein's grandson, Oscar Andrew Hammerstein, in his book about his family, suggested that the wartime situation made Carousel's ending especially poignant to its original viewers, "Every American grieved the loss of a brother, son, father, or friend ... the audience empathized with [Billy's] all-too-human efforts to offer advice, to seek forgiveness, to complete an unfinished life, and to bid a proper good-bye from beyond the grave." Author and composer Ethan Mordden agreed with that perspective: If Oklahoma! developed the moral argument for sending American boys overseas, Carousel offered consolation to those wives and mothers whose boys would only return in spirit. The meaning lay not in the tragedy of the present, but in the hope for a future where no one walks alone. Awards and nominations Original 1945 Broadway productionNote: The Tony Awards were not established until 1947, and so Carousel was not eligible to win any Tonys at its premiere. 1957 revival 1992 London revival 1994 Broadway revival 2018 Broadway revival References Bibliography Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. New York: Oxford University Press US, 2004. . Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press US, 2006. . Bradley, Ian. You've Got to Have a Dream: The Message of the Broadway Musical. Louisville, Ky., Westminster John Knox Press, 2005. 978-0-664-22854-5. Easton, Carol. No Intermission: The Life of Agnes DeMille. Jefferson, N.C.: Da Capo Press, 2000 (1st DaCapo Press edition). . Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. . Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. . Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. . Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. . Molnár, Ferenc. Liliom: A Legend in Seven Scenes and a Prologue. New York: Boni and Liveright, 1921. Mordden, Ethan. "Rodgers & Hammerstein". New York: Harry N. Abrams, Inc., 1992. . Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2002. . Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. . Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2001. . External links Carousel at guidetomusicaltheatre.com Carousel info page on StageAgent.com – Carousel plot summary and character descriptions (1967 TV adaptation) 1945 musicals Broadway musicals Musicals by Rodgers and Hammerstein West End musicals Musicals based on plays Grammy Hall of Fame Award recipients Maine in fiction Fiction set in 1873 Fiction about the afterlife Plays set in Maine Plays set in the 19th century Tony Award-winning musicals

C_8decf249a7ee4c6bb84aa0f61f4f4d6c_1

When did it air on tv?

When did the film version of Carousel air on tv?

Carousel (musical)

A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. CANNOTANSWER

There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella.

Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that Carousel was his favorite of all his musicals. Following the spectacular success of the first Rodgers and Hammerstein musical, Oklahoma! (1943), the pair sought to collaborate on another piece, knowing that any resulting work would be compared with Oklahoma!, most likely unfavorably. They were initially reluctant to seek the rights to Liliom; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful. The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. Carousel initially ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as Oklahoma!, the piece has been repeatedly revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in London, in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, Time magazine named Carousel the best musical of the 20th century. Background Liliom Ferenc Molnár's Hungarian-language drama, Liliom, premiered in Budapest in 1909. The audience was puzzled by the work, and it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. Liliom was not presented again until after World War I. When it reappeared on the Budapest stage, it was a tremendous hit. Except for the ending, the plots of Liliom and Carousel are very similar. Andreas Zavocky (nicknamed Liliom, the Hungarian word for "lily", a slang term for "tough guy"), a carnival barker, falls in love with Julie Zeller, a servant girl, and they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, and Liliom stabs himself. He dies, and his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory. On his return to Earth, Liliom encounters his daughter, Louise, who like her mother is now a factory worker. Saying that he knew her father, he tries to give her a star he stole from the heavens. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie confronts him, but finds herself unable to be angry with him. Liliom is ushered off to his fate, presumably Hell, and Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is very possible for that to happen. An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, uncredited, was Rodgers' first major partner Lorenz Hart. The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, and the play was a success, running 300 performances. A 1940 revival with Burgess Meredith and Ingrid Bergman was seen by both Hammerstein and Rodgers. Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell; Liliom crying out to the distant carousel the glad news that he is to be a father; the two thieves gambling for the spoils of their prospective robbery; Marie and Wolf posing for their portrait while the broken-hearted Julie stands looking after the vanishing Liliom, the thieves' song ringing in her ears; the two policemen grousing about pay and pensions while Liliom lies bleeding to death; Liliom furtively proffering his daughter the star he has stolen for her in heaven. ... The temptation to count the whole scintillating string is difficult to resist. Inception In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940). Some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot (in the "Slaughter on Tenth Avenue" scene), while Pal Joey flouted Broadway tradition by presenting a knave as its hero. Hammerstein had written or co-written the words for such hits as Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, "The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good. By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, becoming unreliable and prompting Rodgers to approach Hammerstein to ask if he would consider working with him. Hammerstein was eager to do so, and their first collaboration was Oklahoma! (1943). Thomas Hischak states, in his The Rodgers and Hammerstein Encyclopedia, that Oklahoma! is "the single most influential work in the American musical theatre. In fact, the history of the Broadway musical can accurately be divided into what came before Oklahoma! and what came after it." An innovation for its time in integrating song, character, plot and dance, Oklahoma! would serve, according to Hischak, as "the model for Broadway shows for decades", and proved a huge popular and financial success. Once it was well-launched, what to do as an encore was a daunting challenge for the pair. Film producer Samuel Goldwyn saw Oklahoma! and advised Rodgers to shoot himself, which according to Rodgers "was Sam's blunt but funny way of telling me that I'd never create another show as good as Oklahoma!" As they considered new projects, Hammerstein wrote, "We're such fools. No matter what we do, everyone is bound to say, 'This is not another Oklahoma! " Oklahoma! had been a struggle to finance and produce. Hammerstein and Rodgers met weekly in 1943 with Theresa Helburn and Lawrence Langner of the Theatre Guild, producers of the blockbuster musical, who together formed what they termed "the Gloat Club". At one such luncheon, Helburn and Langner proposed to Rodgers and Hammerstein that they turn Molnár's Liliom into a musical. Both men refused—they had no feeling for the Budapest setting and thought that the unhappy ending was unsuitable for musical theatre. In addition, given the unstable wartime political situation, they might need to change the setting from Hungary while in rehearsal. At the next luncheon, Helburn and Langner again proposed Liliom, suggesting that they move the setting to Louisiana and make Liliom a Creole. Rodgers and Hammerstein played with the idea over the next few weeks, but decided that Creole dialect, filled with "zis" and "zose", would sound corny and would make it difficult to write effective lyrics. A breakthrough came when Rodgers, who owned a house in Connecticut, proposed a New England setting. Hammerstein wrote of this suggestion in 1945, I began to see an attractive ensemble—sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute ... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music. Molnár's opposition to having his works adapted was also an issue; he had famously turned down Giacomo Puccini when the great composer wished to transform Liliom into an opera, stating that he wanted the piece to be remembered as his, not Puccini's. In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from Kurt Weill to adapt the play into a musical. The pair continued to work on the preliminary ideas for a Liliom adaptation while pursuing other projects in late 1943 and early 1944—writing the film musical State Fair and producing I Remember Mama on Broadway. Meanwhile, the Theatre Guild took Molnár to see Oklahoma! Molnár stated that if Rodgers and Hammerstein could adapt Liliom as beautifully as they had modified Green Grow the Lilacs into Oklahoma!, he would be pleased to have them do it. The Guild obtained the rights from Molnár in October 1943. The playwright received one percent of the gross and $2,500 for "personal services". The duo insisted, as part of the contract, that Molnár permit them to make changes in the plot. At first, the playwright refused, but eventually yielded. Hammerstein later stated that if this point had not been won, "we could never have made Carousel." In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in Pal Joey. Rodgers and Hart had overcome the problem with a song that Joey sings to himself, "I'm Talking to My Pal". This inspired "Soliloquy". Both partners later told a story that "Soliloquy" was only intended to be a song about Liliom's dreams of a son, but that Rodgers, who had two daughters, insisted that Liliom consider that Julie might have a girl. However, the notes taken at their meeting of December 7, 1943 state: "Mr. Rodgers suggested a fine musical number for the end of the scene where Liliom discovers he is to be a father, in which he sings first with pride of the growth of a boy, and then suddenly realizes it might be a girl and changes completely." Hammerstein and Rodgers returned to the Liliom project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results. Green Grow the Lilacs had been a little-known work; Liliom was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy. Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in Liliom; they became Enoch Snow and Carrie Pipperidge. "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for Oklahoma! but not used. Molnár's ending was unsuitable, and after a couple of false starts, Hammerstein conceived the graduation scene that ends the musical. According to Frederick Nolan in his book on the team's works: "From that scene the song "You'll Never Walk Alone" sprang almost naturally." In spite of Hammerstein's simple lyrics for "You'll Never Walk Alone", Rodgers had great difficulty in setting it to music. Rodgers explained his rationale for the changed ending, Liliom was a tragedy about a man who cannot learn to live with other people. The way Molnár wrote it, the man ends up hitting his daughter and then having to go back to purgatory, leaving his daughter helpless and hopeless. We couldn't accept that. The way we ended Carousel it may still be a tragedy but it's a hopeful one because in the final scene it is clear that the child has at last learned how to express herself and communicate with others. When the pair decided to make "This Was a Real Nice Clambake" into an ensemble number, Hammerstein realized he had no idea what a clambake was like, and researched the matter. Based on his initial findings, he wrote the line, "First came codfish chowder". However, further research convinced him the proper term was "codhead chowder", a term unfamiliar to many playgoers. He decided to keep it as "codfish". When the song proceeded to discuss the lobsters consumed at the feast, Hammerstein wrote the line "We slit 'em down the back/And peppered 'em good". He was grieved to hear from a friend that lobsters are always slit down the front. The lyricist sent a researcher to a seafood restaurant and heard back that lobsters are always slit down the back. Hammerstein concluded that there is disagreement about which side of a lobster is the back. One error not caught involved the song "June Is Bustin' Out All Over", in which sheep are depicted as seeking to mate in late spring—they actually do so in the winter. Whenever this was brought to Hammerstein's attention, he told his informant that 1873 was a special year, in which sheep mated in the spring. Rodgers early decided to dispense with an overture, feeling that the music was hard to hear over the banging of seats as latecomers settled themselves. In his autobiography, Rodgers complained that only the brass section can be heard during an overture because there are never enough strings in a musical's small orchestra. He determined to force the audience to concentrate from the beginning by opening with a pantomime scene accompanied by what became known as "The Carousel Waltz". The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience. Author Ethan Mordden described the effectiveness of this opening: Other characters catch our notice—Mr. Bascombe, the pompous mill owner, Mrs. Mullin, the widow who runs the carousel and, apparently, Billy; a dancing bear; an acrobat. But what draws us in is the intensity with which Julie regards Billy—the way she stands frozen, staring at him, while everyone else at the fair is swaying to the rhythm of Billy's spiel. And as Julie and Billy ride together on the swirling carousel, and the stage picture surges with the excitement of the crowd, and the orchestra storms to a climax, and the curtain falls, we realize that R & H have not only skipped the overture and the opening number but the exposition as well. They have plunged into the story, right into the middle of it, in the most intense first scene any musical ever had. Casting and out-of-town tryouts The casting for Carousel began when Oklahoma!s production team, including Rodgers and Hammerstein, was seeking a replacement for the part of Curly (the male lead in Oklahoma!). Lawrence Langner had heard, through a relative, of a California singer named John Raitt, who might be suitable for the part. Langner went to hear Raitt, then urged the others to bring Raitt to New York for an audition. Raitt asked to sing "Largo al factotum", Figaro's aria from The Barber of Seville, to warm up. The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed). Theresa Helburn made another California discovery, Jan Clayton, a singer/actress who had made a few minor films for MGM. She was brought east and successfully auditioned for the part of Julie. The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of Pal Joey), had ever played on Broadway before. It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, John Fearnley, that the sole qualification for a dancing boy was that he be alive. Rodgers and Hammerstein reassembled much of the creative team that had made Oklahoma! a success, including director Rouben Mamoulian and choreographer Agnes de Mille. Miles White was the costume designer while Jo Mielziner (who had not worked on Oklahoma!) was the scenic and lighting designer. Even though Oklahoma! orchestrator Russell Bennett had informed Rodgers that he was unavailable to work on Carousel due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by Don Walker. A new member of the creative team was Trude Rittmann, who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s. Rehearsals began in January 1945; either Rodgers or Hammerstein was always present. Raitt was presented with the lyrics for "Soliloquy" on a five-foot long sheet of paper—the piece ran nearly eight minutes. Staging such a long solo number presented problems, and Raitt later stated that he felt that they were never fully addressed. At some point during rehearsals, Molnár came to see what they had done to his play. There are a number of variations on the story.Fordin, pp. 231–32 As Rodgers told it, while watching rehearsals with Hammerstein, the composer spotted Molnár in the rear of the theatre and whispered the news to his partner. Both sweated through an afternoon of rehearsal in which nothing seemed to go right. At the end, the two walked to the back of the theatre, expecting an angry reaction from Molnár. Instead, the playwright said enthusiastically, "What you have done is so beautiful. And you know what I like best? The ending!" Hammerstein wrote that Molnár became a regular attendee at rehearsals after that. Like most of the pair's works, Carousel contains a lengthy ballet, "Billy Makes a Journey", in the second act, as Billy looks down to the Earth from "Up There" and observes his daughter. In the original production the ballet was choreographed by de Mille. It began with Billy looking down from heaven at his wife in labor, with the village women gathered for a "birthing". The ballet involved every character in the play, some of whom spoke lines of dialogue, and contained a number of subplots. The focus was on Louise, played by Bambi Linn, who at first almost soars in her dance, expressing the innocence of childhood. She is teased and mocked by her schoolmates, and Louise becomes attracted to the rough carnival people, who symbolize Billy's world. A youth from the carnival attempts to seduce Louise, as she discovers her own sexuality, but he decides she is more girl than woman, and he leaves her. After Julie comforts her, Louise goes to a children's party, where she is shunned. The carnival people reappear and form a ring around the children's party, with Louise lost between the two groups. At the end, the performers form a huge carousel with their bodies. The play opened for tryouts in New Haven, Connecticut on March 22, 1945. The first act was well-received; the second act was not. Casto recalled that the second act finished about 1:30 a.m. The staff immediately sat down for a two-hour conference. Five scenes, half the ballet, and two songs were cut from the show as the result. John Fearnley commented, "Now I see why these people have hits. I never witnessed anything so brisk and brave in my life." De Mille said of this conference, "not three minutes had been wasted pleading for something cherished. Nor was there any idle joking. ... We cut and cut and cut and then we went to bed." By the time the company left New Haven, de Mille's ballet was down to forty minutes. A major concern with the second act was the effectiveness of the characters He and She (later called by Rodgers "Mr. and Mrs. God"), before whom Billy appeared after his death. Mr. and Mrs. God were depicted as a New England minister and his wife, seen in their parlor.Block (ed.), p. 129. At this time, according to the cast sheet distributed during the Boston run, Dr. Seldon was listed as the "Minister". The couple was still part of the show at the Boston opening. Rodgers said to Hammerstein, "We've got to get God out of that parlor". When Hammerstein inquired where he should put the deity, Rodgers replied, "I don't care where you put Him. Put Him on a ladder for all I care, only get Him out of that parlor!" Hammerstein duly put Mr. God (renamed the Starkeeper) atop a ladder, and Mrs. God was removed from the show. Rodgers biographer Meryle Secrest terms this change a mistake, leading to a more fantastic afterlife, which was later criticized by The New Republic as "a Rotarian atmosphere congenial to audiences who seek not reality but escape from reality, not truth but escape from truth". Hammerstein wrote that Molnár's advice, to combine two scenes into one, was key to pulling together the second act and represented "a more radical departure from the original than any change we had made". A reprise of "If I Loved You" was added in the second act, which Rodgers felt needed more music. Three weeks of tryouts in Boston followed the brief New Haven run, and the audience there gave the musical a warm reception. An even shorter version of the ballet was presented the final two weeks in Boston, but on the final night there, de Mille expanded it back to forty minutes, and it brought the house down, causing both Rodgers and Hammerstein to embrace her. Synopsis Act 1 Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("If I Loved You"). Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news—she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep"). Jigger and his shipmates, joined by Billy, then sing about life on the sea ("Blow High, Blow Low"). The whaler tries to recruit Billy to help with a robbery, but Billy declines, as the victim—Julie's former boss, Mr. Bascombe—might have to be killed. Mrs. Mullin enters and tries to tempt Billy back to the carousel (and to her). He would have to abandon Julie; a married barker cannot evoke the same sexual tension as one who is single. Billy reluctantly mulls it over as Julie arrives and the others leave. She tells him that she is pregnant, and Billy is overwhelmed with happiness, ending all thoughts of returning to the carousel. Once alone, Billy imagines the fun he will have with Bill Jr.—until he realizes that his child might be a girl, and reflects soberly that "you've got to be a father to a girl" ("Soliloquy"). Determined to provide financially for his future child, whatever the means, Billy decides to be Jigger's accomplice. The whole town leaves for the clambake. Billy, who had earlier refused to go, agrees to join in, to Julie's delight, as he realizes that being seen at the clambake is integral to his and Jigger's alibi ("Act I Finale"). Act 2 Everyone reminisces about the huge meal and much fun ("This Was a Real Nice Clambake"). Jigger tries to seduce Carrie; Enoch walks in at the wrong moment, and declares that he is finished with her ("Geraniums In the Winder"), as Jigger jeers ("There's Nothin' So Bad for a Woman"). The girls try to comfort Carrie, but for Julie all that matters is that "he's your feller and you love him" ("What's the Use of Wond'rin'?"). Julie sees Billy trying to sneak away with Jigger and, trying to stop him, feels the knife hidden in his shirt. She begs him to give it to her, but he refuses and leaves to commit the robbery. As they wait, Jigger and Billy gamble with cards. They stake their shares of the anticipated robbery spoils. Billy loses: his participation is now pointless. Unknown to Billy and Jigger, Mr. Bascombe, the intended victim, has already deposited the mill's money. The robbery fails: Bascombe pulls a gun on Billy while Jigger escapes. Billy stabs himself with his knife; Julie arrives just in time for him to say his last words to her and die. Julie strokes his hair, finally able to tell him that she loved him. Carrie and Enoch, reunited by the crisis, attempt to console Julie; Nettie arrives and gives Julie the resolve to keep going despite her despair ("You'll Never Walk Alone"). Billy's defiant spirit ("The Highest Judge of All") is taken Up There to see the Starkeeper, a heavenly official. The Starkeeper tells Billy that the good he did in life was not enough to get into heaven, but so long as there is a person alive who remembers him, he can return for a day to try to do good to redeem himself. He informs Billy that fifteen years have passed on Earth since his suicide, and suggests that Billy can get himself into heaven if he helps his daughter, Louise. He helps Billy look down from heaven to see her (instrumental ballet: "Billy Makes a Journey"). Louise has grown up to be lonely and bitter. The local children ostracize her because her father was a thief and a wife-beater. In the dance, a young ruffian, much like her father at that age, flirts with her and abandons her as too young. The dance concludes, and Billy is anxious to return to Earth and help his daughter. He steals a star to take with him, as the Starkeeper pretends not to notice. Outside Julie's cottage, Carrie describes her visit to New York with the now-wealthy Enoch. Carrie's husband and their many children enter to fetch her—the family must get ready for the high school graduation later that day. Enoch Jr., the oldest son, remains behind to talk with Louise, as Billy and the Heavenly Friend escorting him enter, invisible to the other characters. Louise confides in Enoch Jr. that she plans to run away from home with an acting troupe. He says that he will stop her by marrying her, but that his father will think her an unsuitable match. Louise is outraged: each insults the other's father, and Louise orders Enoch Jr. to go away. Billy, able to make himself visible at will, reveals himself to the sobbing Louise, pretending to be a friend of her father. He offers her a gift—the star he stole from heaven. She refuses it and, frustrated, he slaps her hand. He makes himself invisible, and Louise tells Julie what happened, stating that the slap miraculously felt like a kiss, not a blow—and Julie understands her perfectly. Louise retreats to the house, as Julie notices the star that Billy dropped; she picks it up and seems to feel Billy's presence ("If I Loved You (Reprise)"). Billy invisibly attends Louise's graduation, hoping for one last chance to help his daughter and redeem himself. The beloved town physician, Dr. Seldon (who resembles the Starkeeper) advises the graduating class not to rely on their parents' success or be held back by their failure (words directed at Louise). Seldon prompts everyone to sing an old song, "You'll Never Walk Alone". Billy, still invisible, whispers to Louise, telling her to believe Seldon's words, and when she tentatively reaches out to another girl, she learns she does not have to be an outcast. Billy goes to Julie, telling her at last that he loved her. As his widow and daughter join in the singing, Billy is taken to his heavenly reward. Principal roles and notable performers ° denotes original Broadway cast Musical numbers Act I"List of Songs", Carousel at the IBDB Database. Retrieved July 18, 2012 "The Carousel Waltz" – Orchestra "You're a Queer One, Julie Jordan" – Carrie Pipperidge and Julie Jordan "(When I Marry) Mister Snow" – Carrie "If I Loved You" – Billy Bigelow and Julie "June Is Bustin' Out All Over" – Nettie Fowler and Chorus "(When I Marry) Mister Snow" (reprise) – Carrie, Enoch Snow and Female Chorus "When the Children Are Asleep" – Enoch and Carrie "Blow High, Blow Low" – Jigger Craigin, Billy and Male Chorus "Soliloquy" – BillyAct II "This Was a Real Nice Clambake" – Carrie, Nettie, Julie, Enoch and Chorus "Geraniums in the Winder" – Enoch * "There's Nothin' So Bad for a Woman" – Jigger and Chorus "What's the Use of Wond'rin'?" – Julie "You'll Never Walk Alone" – Nettie "The Highest Judge of All" – Billy Ballet: "Billy Makes a Journey" – Orchestra "If I Loved You" (reprise) – Billy Finale: "You'll Never Walk Alone" (reprise) – Company Productions Early productions The original Broadway production opened at the Majestic Theatre on April 19, 1945. The dress rehearsal the day before had gone badly, and the pair feared the new work would not be well received. One successful last-minute change was to have de Mille choreograph the pantomime. The movement of the carnival crowd in the pantomime had been entrusted to Mamoulian, and his version was not working. Rodgers had injured his back the previous week, and he watched the opening from a stretcher propped in a box behind the curtain. Sedated with morphine, he could see only part of the stage. As he could not hear the audience's applause and laughter, he assumed the show was a failure. It was not until friends congratulated him later that evening that he realized that the curtain had been met by wild applause. Bambi Linn, who played Louise, was so enthusiastically received by the audience during her ballet that she was forced to break character, when she next appeared, and bow. Rodgers' daughter Mary caught sight of her friend, Stephen Sondheim, both teenagers then, across several rows; both had eyes wet with tears. The original production ran for 890 performances, closing on May 24, 1947. The original cast included John Raitt (Billy), Jan Clayton (Julie), Jean Darling (Carrie), Eric Mattson (Enoch Snow), Christine Johnson (Nettie Fowler), Murvyn Vye (Jigger), Bambi Linn (Louise) and Russell Collins (Starkeeper). In December 1945, Clayton left to star in the Broadway revival of Show Boat and was replaced by Iva Withers; Raitt was replaced by Henry Michel in January 1947; Darling was replaced by Margot Moser.Hischak, p. 62 After closing on Broadway, the show went on a national tour for two years. It played for five months in Chicago alone, visited twenty states and two Canadian cities, covered and played to nearly two million people. The touring company had a four-week run at New York City Center in January 1949. Following the City Center run, the show was moved back to the Majestic Theatre in the hopes of filling the theatre until South Pacific opened in early April. However, ticket sales were mediocre, and the show closed almost a month early. The musical premiered in the West End, London, at the Theatre Royal, Drury Lane on June 7, 1950. The production was restaged by Jerome Whyte, with a cast that included Stephen Douglass (Billy), Iva Withers (Julie) and Margot Moser (Carrie). Carousel ran in London for 566 performances, remaining there for over a year and a half. Subsequent productions Carousel was revived in 1954 and 1957 at City Center, presented by the New York City Center Light Opera Company. Both times, the production featured Barbara Cook, though she played Carrie in 1954 and Julie in 1957 (playing alongside Howard Keel as Billy). The production was then taken to Belgium to be performed at the 1958 Brussels World's Fair, with David Atkinson as Billy, Ruth Kobart as Nettie, and Clayton reprising the role of Julie, which she had originated. In August 1965, Rodgers and the Music Theater of Lincoln Center produced Carousel for 47 performances. John Raitt reprised the role of Billy, with Jerry Orbach as Jigger and Reid Shelton as Enoch Snow. The roles of the Starkeeper and Dr. Seldon were played by Edward Everett Horton in his final stage appearance. The following year, New York City Center Light Opera Company brought Carousel back to City Center for 22 performances, with Bruce Yarnell as Billy and Constance Towers as Julie. Nicholas Hytner directed a new production of Carousel in 1992, at London's Royal National Theatre, with choreography by Sir Kenneth MacMillan and designs by Bob Crowley. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival. As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride.Block, p. 175 Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel. Michael Hayden played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode. Hayden, Joanna Riding (Julie) and Janie Dee (Carrie) all won Olivier Awards for their performances. Patricia Routledge played Nettie. Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in The New York Times, looked like "a walking United Colors of Benetton ad". Clive Rowe, as Enoch, was nominated for an Olivier Award. The production's limited run from December 1992 through March 1993 was a sellout. It re-opened at the Shaftesbury Theatre in London in September 1993, presented by Cameron Mackintosh, where it continued until May 1994. The Hytner production moved to New York's Vivian Beaumont Theater, where it opened on March 24, 1994, and ran for 322 performances. This won five Tony Awards, including best musical revival, as well as awards for Hytner, MacMillan, Crowley and Audra McDonald (as Carrie). The cast also included Sally Murphy as Julie, Shirley Verrett as Nettie, Fisher Stevens as Jigger and Eddie Korbich as Enoch. One change made from the London to the New York production was to have Billy strike Louise across the face, rather than on the hand. According to Hayden, "He does the one unpardonable thing, the thing we can't forgive. It's a challenge for the audience to like him after that." The Hytner Carousel was presented in Japan in May 1995. A U.S. national tour with a scaled-down production began in February 1996 in Houston and closed in May 1997 in Providence, Rhode Island. Producers sought to feature young talent on the tour, with Patrick Wilson as Billy and Sarah Uriarte Berry, and later Jennifer Laura Thompson, as Julie. A revival opened at London's Savoy Theatre on December 2, 2008, after a week of previews, starring Jeremiah James (Billy), Alexandra Silber (Julie) and Lesley Garrett (Nettie). The production received warm to mixed reviews. It closed in June 2009, a month early. Michael Coveney, writing in The Independent, admired Rodgers' music but stated, "Lindsay Posner's efficient revival doesn't hold a candle to the National Theatre 1992 version". A production at Theater Basel, Switzerland, in 2016 to 2017, with German dialogue, was directed by Alexander Charim and choreographed by Teresa Rotemberg. Bryony Dwyer, Christian Miedl and Cheryl Studer starred, respectively, as Julie Jordan, Billy Bigelow and Nettie Fowler.<ref>[http://operabase.com/diary.cgi?lang=en&code=wsba&date=20161215 "Richard Rodgers: Carousel"] , Diary: Theater Basel, Operabase.com. Retrieved on March 8, 2018</ref> A semi-staged revival by the English National Opera opened at the London Coliseum in 2017. The production was directed by Lonny Price, conducted by David Charles Abell, and starred Alfie Boe as Billy, Katherine Jenkins as Julie and Nicholas Lyndhurst as the Starkeeper. The production received mixed to positive reviews. The third Broadway revival began previews in February 2018 at the Imperial Theatre and officially opened on April 12. It closed on September 16, 2018. The production starred Jessie Mueller, Joshua Henry, Renée Fleming, Lindsay Mendez and Alexander Gemignani. The production was directed by Jack O'Brien and choreographed by Justin Peck. The songs "Geraniums in the Winder" and "There's Nothin' So Bad for a Woman" were cut from this revival. Ben Brantley wrote in The New York Times, "The tragic inevitability of Carousel has seldom come across as warmly or as chillingly as it does in this vividly reimagined revival. ... [W]ith thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show's center has never seemed quite as ill-starred or, at the same time, as sexy. ... [T]he Starkeeper ... assumes new visibility throughout, taking on the role of Billy's angelic supervisor." Brantley strongly praised the choreography, all the performances and the designers. He was unconvinced, however, by the "mother-daughter dialogue that falls so abrasively on contemporary ears", where Julie tries to justify loving an abusive man, and other scenes in Act 2, particularly those set in heaven, and the optimism of the final scene. Most of the reviewers agreed that while the choreography and performances (especially the singing) were excellent, characterizing the production as sexy and sumptuous, O'Brien's direction did little to help the show deal with modern sensibilities about men's treatment of women, instead indulging in nostalgia. From July to September 2021 the Regent's Park Open Air Theatre in London is presenting a staging by its artistic director Timothy Sheader, with choreography by Drew McOnie. The cast includes Carly Bawden as Julie, Declan Bennett as Billy and Joanna Riding as Nettie. Film, television and concert versions [[File:Boothbay Harbor in Summer.jpg|thumb|upright=1.2|Boothbay Harbor, Maine, where the location shots for Carousels movie version were filmed]] A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma! It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando and conducted by Rob Fisher. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. Music and recordings Musical treatment Rodgers designed Carousel to be an almost continuous stream of music, especially in Act 1. In later years, Rodgers was asked if he had considered writing an opera. He stated that he had been sorely tempted to, but saw Carousel in operatic terms. He remembered, "We came very close to opera in the Majestic Theatre. ... There's much that is operatic in the music." Rodgers uses music in Carousel in subtle ways to differentiate characters and tell the audience of their emotional state. In "You're a Queer One, Julie Jordan", the music for the placid Carrie is characterized by even eighth-note rhythms, whereas the emotionally restless Julie's music is marked by dotted eighths and sixteenths; this rhythm will characterize her throughout the show. When Billy whistles a snatch of the song, he selects Julie's dotted notes rather than Carrie's. Reflecting the close association in the music between Julie and the as-yet unborn Louise, when Billy sings in "Soliloquy" of his daughter, who "gets hungry every night", he uses Julie's dotted rhythms. Such rhythms also characterize Julie's Act 2 song, "What's the Use of Wond'rin'". The stable love between Enoch and Carrie is strengthened by her willingness to let Enoch not only plan his entire life, but hers as well. This is reflected in "When the Children Are Asleep", where the two sing in close harmony, but Enoch musically interrupts his intended's turn at the chorus with the words "Dreams that won't be interrupted". Rodgers biographer Geoffrey Block, in his book on the Broadway musical, points out that though Billy may strike his wife, he allows her musical themes to become a part of him and never interrupts her music. Block suggests that, as reprehensible as Billy may be for his actions, Enoch requiring Carrie to act as "the little woman", and his having nine children with her (more than she had found acceptable in "When the Children are Asleep") can be considered to be even more abusive. The twelve-minute "bench scene", in which Billy and Julie get to know each other and which culminates with "If I Loved You", according to Hischak, "is considered the most completely integrated piece of music-drama in the American musical theatre". The scene is almost entirely drawn from Molnár and is one extended musical piece; Stephen Sondheim described it as "probably the single most important moment in the revolution of contemporary musicals". "If I Loved You" has been recorded many times, by such diverse artists as Frank Sinatra, Barbra Streisand, Sammy Davis Jr., Mario Lanza and Chad and Jeremy. The D-flat major theme that dominates the music for the second act ballet seems like a new melody to many audience members. It is, however, a greatly expanded development of a theme heard during "Soliloquy" at the line "I guess he'll call me 'The old man' ". When the pair discussed the song that would become "Soliloquy", Rodgers improvised at the piano to give Hammerstein an idea of how he envisioned the song. When Hammerstein presented his collaborator with the lyrics after two weeks of work (Hammerstein always wrote the words first, then Rodgers would write the melodies), Rodgers wrote the music for the eight-minute song in two hours. "What's the Use of Wond'rin' ", one of Julie's songs, worked well in the show but was never as popular on the radio or for recording, and Hammerstein believed that the lack of popularity was because he had concluded the final line, "And all the rest is talk" with a hard consonant, which does not allow the singer a vocal climax. Irving Berlin later stated that "You'll Never Walk Alone" had the same sort of effect on him as the 23rd Psalm. When singer Mel Tormé told Rodgers that "You'll Never Walk Alone" had made him cry, Rodgers nodded impatiently. "You're supposed to." The frequently recorded song has become a widely accepted hymn.Rodgers, p. 240 The cast recording of Carousel proved popular in Liverpool, like many Broadway albums, and in 1963, the Brian Epstein-managed band, Gerry and the Pacemakers had a number-one hit with the song. At the time, the top ten hits were played before Liverpool F.C. home matches; even after "You'll Never Walk Alone" dropped out of the top ten, fans continued to sing it, and it has become closely associated with the soccer team and the city of Liverpool. A BBC program, Soul Music, ranked it alongside "Silent Night" and "Abide With Me" in terms of its emotional impact and iconic status. Recordings The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut—as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.Fick, David. "The Best Carousel Recording", June 11, 2009. Retrieved on April 7, 2016 A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousels songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle. Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. Critical reception and legacy The musical received almost unanimous rave reviews after its opening in 1945. According to Hischak, reviews were not as exuberant as for Oklahoma! as the critics were not taken by surprise this time. John Chapman of the Daily News termed it "one of the finest musical plays I have ever seen and I shall remember it always". The New York Times's reviewer, Lewis Nichols, stated that "Richard Rodgers and Oscar Hammerstein 2d, who can do no wrong, have continued doing no wrong in adapting Liliom into a musical play. Their Carousel is on the whole delightful." Wilella Waldorf of the New York Post, however, complained, "Carousel seemed to us a rather long evening. The Oklahoma! formula is becoming a bit monotonous and so are Miss de Mille's ballets. All right, go ahead and shoot!"Suskin, Steven. Opening Night on Broadway. Schirmer Trade Books, 1990, p. 147. . Dance Magazine gave Linn plaudits for her role as Louise, stating, "Bambi doesn't come on until twenty minutes before eleven, and for the next forty minutes, she practically holds the audience in her hand". Howard Barnes in the New York Herald Tribune also applauded the dancing: "It has waited for Miss de Mille to come through with peculiarly American dance patterns for a musical show to become as much a dance as a song show." When the musical returned to New York in 1949, The New York Times reviewer Brooks Atkinson described Carousel as "a conspicuously superior musical play ... Carousel, which was warmly appreciated when it opened, seems like nothing less than a masterpiece now." In 1954, when Carousel was revived at City Center, Atkinson discussed the musical in his review: Carousel has no comment to make on anything of topical importance. The theme is timeless and universal: the devotion of two people who love each other through thick and thin, complicated in this case by the wayward personality of the man, who cannot fulfill the responsibilities he has assumed.  ... Billy is a bum, but Carousel recognizes the decency of his motives and admires his independence. There are no slick solutions in Carousel. Stephen Sondheim noted the duo's ability to take the innovations of Oklahoma! and apply them to a serious setting: "Oklahoma! is about a picnic, Carousel is about life and death." Critic Eric Bentley, on the other hand, wrote that "the last scene of Carousel is an impertinence: I refuse to be lectured to by a musical comedy scriptwriter on the education of children, the nature of the good life, and the contribution of the American small town to the salvation of souls."New York Times critic Frank Rich said of the 1992 London production: "What is remarkable about Mr. Hytner's direction, aside from its unorthodox faith in the virtues of simplicity and stillness, is its ability to make a 1992 audience believe in Hammerstein's vision of redemption, which has it that a dead sinner can return to Earth to do godly good." The Hytner production in New York was hailed by many critics as a grittier Carousel, which they deemed more appropriate for the 1990s. Clive Barnes of the New York Post called it a "defining Carousel—hard-nosed, imaginative, and exciting." Critic Michael Billington has commented that "lyrically [Carousel] comes perilously close to acceptance of the inevitability of domestic violence." BroadwayWorld.com stated in 2013 that Carousel is now "considered somewhat controversial in terms of its attitudes on domestic violence" because Julie chooses to stay with Billy despite the abuse; actress Kelli O'Hara noted that the domestic violence that Julie "chooses to deal with – is a real, existing and very complicated thing. And exploring it is an important part of healing it." Rodgers considered Carousel his favorite of all his musicals and wrote, "it affects me deeply every time I see it performed". In 1999, Time magazine, in its "Best of the Century" list, named Carousel the Best Musical of the 20th century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical, and this show features their most beautiful score and the most skillful and affecting example of their musical storytelling". Hammerstein's grandson, Oscar Andrew Hammerstein, in his book about his family, suggested that the wartime situation made Carousel's ending especially poignant to its original viewers, "Every American grieved the loss of a brother, son, father, or friend ... the audience empathized with [Billy's] all-too-human efforts to offer advice, to seek forgiveness, to complete an unfinished life, and to bid a proper good-bye from beyond the grave." Author and composer Ethan Mordden agreed with that perspective: If Oklahoma! developed the moral argument for sending American boys overseas, Carousel offered consolation to those wives and mothers whose boys would only return in spirit. The meaning lay not in the tragedy of the present, but in the hope for a future where no one walks alone. Awards and nominations Original 1945 Broadway productionNote: The Tony Awards were not established until 1947, and so Carousel was not eligible to win any Tonys at its premiere. 1957 revival 1992 London revival 1994 Broadway revival 2018 Broadway revival References Bibliography Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. New York: Oxford University Press US, 2004. . Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press US, 2006. . Bradley, Ian. You've Got to Have a Dream: The Message of the Broadway Musical. Louisville, Ky., Westminster John Knox Press, 2005. 978-0-664-22854-5. Easton, Carol. No Intermission: The Life of Agnes DeMille. Jefferson, N.C.: Da Capo Press, 2000 (1st DaCapo Press edition). . Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. . Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. . Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. . Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. . Molnár, Ferenc. Liliom: A Legend in Seven Scenes and a Prologue. New York: Boni and Liveright, 1921. Mordden, Ethan. "Rodgers & Hammerstein". New York: Harry N. Abrams, Inc., 1992. . Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2002. . Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. . Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2001. . External links Carousel at guidetomusicaltheatre.com Carousel info page on StageAgent.com – Carousel plot summary and character descriptions (1967 TV adaptation) 1945 musicals Broadway musicals Musicals by Rodgers and Hammerstein West End musicals Musicals based on plays Grammy Hall of Fame Award recipients Maine in fiction Fiction set in 1873 Fiction about the afterlife Plays set in Maine Plays set in the 19th century Tony Award-winning musicals

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Did it win any awards?

Did the 1967 television version of Carousel win any awards?

Carousel (musical)

A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. CANNOTANSWER

It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared,

Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that Carousel was his favorite of all his musicals. Following the spectacular success of the first Rodgers and Hammerstein musical, Oklahoma! (1943), the pair sought to collaborate on another piece, knowing that any resulting work would be compared with Oklahoma!, most likely unfavorably. They were initially reluctant to seek the rights to Liliom; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful. The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. Carousel initially ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as Oklahoma!, the piece has been repeatedly revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in London, in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, Time magazine named Carousel the best musical of the 20th century. Background Liliom Ferenc Molnár's Hungarian-language drama, Liliom, premiered in Budapest in 1909. The audience was puzzled by the work, and it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. Liliom was not presented again until after World War I. When it reappeared on the Budapest stage, it was a tremendous hit. Except for the ending, the plots of Liliom and Carousel are very similar. Andreas Zavocky (nicknamed Liliom, the Hungarian word for "lily", a slang term for "tough guy"), a carnival barker, falls in love with Julie Zeller, a servant girl, and they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, and Liliom stabs himself. He dies, and his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory. On his return to Earth, Liliom encounters his daughter, Louise, who like her mother is now a factory worker. Saying that he knew her father, he tries to give her a star he stole from the heavens. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie confronts him, but finds herself unable to be angry with him. Liliom is ushered off to his fate, presumably Hell, and Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is very possible for that to happen. An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, uncredited, was Rodgers' first major partner Lorenz Hart. The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, and the play was a success, running 300 performances. A 1940 revival with Burgess Meredith and Ingrid Bergman was seen by both Hammerstein and Rodgers. Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell; Liliom crying out to the distant carousel the glad news that he is to be a father; the two thieves gambling for the spoils of their prospective robbery; Marie and Wolf posing for their portrait while the broken-hearted Julie stands looking after the vanishing Liliom, the thieves' song ringing in her ears; the two policemen grousing about pay and pensions while Liliom lies bleeding to death; Liliom furtively proffering his daughter the star he has stolen for her in heaven. ... The temptation to count the whole scintillating string is difficult to resist. Inception In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940). Some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot (in the "Slaughter on Tenth Avenue" scene), while Pal Joey flouted Broadway tradition by presenting a knave as its hero. Hammerstein had written or co-written the words for such hits as Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, "The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good. By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, becoming unreliable and prompting Rodgers to approach Hammerstein to ask if he would consider working with him. Hammerstein was eager to do so, and their first collaboration was Oklahoma! (1943). Thomas Hischak states, in his The Rodgers and Hammerstein Encyclopedia, that Oklahoma! is "the single most influential work in the American musical theatre. In fact, the history of the Broadway musical can accurately be divided into what came before Oklahoma! and what came after it." An innovation for its time in integrating song, character, plot and dance, Oklahoma! would serve, according to Hischak, as "the model for Broadway shows for decades", and proved a huge popular and financial success. Once it was well-launched, what to do as an encore was a daunting challenge for the pair. Film producer Samuel Goldwyn saw Oklahoma! and advised Rodgers to shoot himself, which according to Rodgers "was Sam's blunt but funny way of telling me that I'd never create another show as good as Oklahoma!" As they considered new projects, Hammerstein wrote, "We're such fools. No matter what we do, everyone is bound to say, 'This is not another Oklahoma! " Oklahoma! had been a struggle to finance and produce. Hammerstein and Rodgers met weekly in 1943 with Theresa Helburn and Lawrence Langner of the Theatre Guild, producers of the blockbuster musical, who together formed what they termed "the Gloat Club". At one such luncheon, Helburn and Langner proposed to Rodgers and Hammerstein that they turn Molnár's Liliom into a musical. Both men refused—they had no feeling for the Budapest setting and thought that the unhappy ending was unsuitable for musical theatre. In addition, given the unstable wartime political situation, they might need to change the setting from Hungary while in rehearsal. At the next luncheon, Helburn and Langner again proposed Liliom, suggesting that they move the setting to Louisiana and make Liliom a Creole. Rodgers and Hammerstein played with the idea over the next few weeks, but decided that Creole dialect, filled with "zis" and "zose", would sound corny and would make it difficult to write effective lyrics. A breakthrough came when Rodgers, who owned a house in Connecticut, proposed a New England setting. Hammerstein wrote of this suggestion in 1945, I began to see an attractive ensemble—sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute ... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music. Molnár's opposition to having his works adapted was also an issue; he had famously turned down Giacomo Puccini when the great composer wished to transform Liliom into an opera, stating that he wanted the piece to be remembered as his, not Puccini's. In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from Kurt Weill to adapt the play into a musical. The pair continued to work on the preliminary ideas for a Liliom adaptation while pursuing other projects in late 1943 and early 1944—writing the film musical State Fair and producing I Remember Mama on Broadway. Meanwhile, the Theatre Guild took Molnár to see Oklahoma! Molnár stated that if Rodgers and Hammerstein could adapt Liliom as beautifully as they had modified Green Grow the Lilacs into Oklahoma!, he would be pleased to have them do it. The Guild obtained the rights from Molnár in October 1943. The playwright received one percent of the gross and $2,500 for "personal services". The duo insisted, as part of the contract, that Molnár permit them to make changes in the plot. At first, the playwright refused, but eventually yielded. Hammerstein later stated that if this point had not been won, "we could never have made Carousel." In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in Pal Joey. Rodgers and Hart had overcome the problem with a song that Joey sings to himself, "I'm Talking to My Pal". This inspired "Soliloquy". Both partners later told a story that "Soliloquy" was only intended to be a song about Liliom's dreams of a son, but that Rodgers, who had two daughters, insisted that Liliom consider that Julie might have a girl. However, the notes taken at their meeting of December 7, 1943 state: "Mr. Rodgers suggested a fine musical number for the end of the scene where Liliom discovers he is to be a father, in which he sings first with pride of the growth of a boy, and then suddenly realizes it might be a girl and changes completely." Hammerstein and Rodgers returned to the Liliom project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results. Green Grow the Lilacs had been a little-known work; Liliom was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy. Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in Liliom; they became Enoch Snow and Carrie Pipperidge. "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for Oklahoma! but not used. Molnár's ending was unsuitable, and after a couple of false starts, Hammerstein conceived the graduation scene that ends the musical. According to Frederick Nolan in his book on the team's works: "From that scene the song "You'll Never Walk Alone" sprang almost naturally." In spite of Hammerstein's simple lyrics for "You'll Never Walk Alone", Rodgers had great difficulty in setting it to music. Rodgers explained his rationale for the changed ending, Liliom was a tragedy about a man who cannot learn to live with other people. The way Molnár wrote it, the man ends up hitting his daughter and then having to go back to purgatory, leaving his daughter helpless and hopeless. We couldn't accept that. The way we ended Carousel it may still be a tragedy but it's a hopeful one because in the final scene it is clear that the child has at last learned how to express herself and communicate with others. When the pair decided to make "This Was a Real Nice Clambake" into an ensemble number, Hammerstein realized he had no idea what a clambake was like, and researched the matter. Based on his initial findings, he wrote the line, "First came codfish chowder". However, further research convinced him the proper term was "codhead chowder", a term unfamiliar to many playgoers. He decided to keep it as "codfish". When the song proceeded to discuss the lobsters consumed at the feast, Hammerstein wrote the line "We slit 'em down the back/And peppered 'em good". He was grieved to hear from a friend that lobsters are always slit down the front. The lyricist sent a researcher to a seafood restaurant and heard back that lobsters are always slit down the back. Hammerstein concluded that there is disagreement about which side of a lobster is the back. One error not caught involved the song "June Is Bustin' Out All Over", in which sheep are depicted as seeking to mate in late spring—they actually do so in the winter. Whenever this was brought to Hammerstein's attention, he told his informant that 1873 was a special year, in which sheep mated in the spring. Rodgers early decided to dispense with an overture, feeling that the music was hard to hear over the banging of seats as latecomers settled themselves. In his autobiography, Rodgers complained that only the brass section can be heard during an overture because there are never enough strings in a musical's small orchestra. He determined to force the audience to concentrate from the beginning by opening with a pantomime scene accompanied by what became known as "The Carousel Waltz". The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience. Author Ethan Mordden described the effectiveness of this opening: Other characters catch our notice—Mr. Bascombe, the pompous mill owner, Mrs. Mullin, the widow who runs the carousel and, apparently, Billy; a dancing bear; an acrobat. But what draws us in is the intensity with which Julie regards Billy—the way she stands frozen, staring at him, while everyone else at the fair is swaying to the rhythm of Billy's spiel. And as Julie and Billy ride together on the swirling carousel, and the stage picture surges with the excitement of the crowd, and the orchestra storms to a climax, and the curtain falls, we realize that R & H have not only skipped the overture and the opening number but the exposition as well. They have plunged into the story, right into the middle of it, in the most intense first scene any musical ever had. Casting and out-of-town tryouts The casting for Carousel began when Oklahoma!s production team, including Rodgers and Hammerstein, was seeking a replacement for the part of Curly (the male lead in Oklahoma!). Lawrence Langner had heard, through a relative, of a California singer named John Raitt, who might be suitable for the part. Langner went to hear Raitt, then urged the others to bring Raitt to New York for an audition. Raitt asked to sing "Largo al factotum", Figaro's aria from The Barber of Seville, to warm up. The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed). Theresa Helburn made another California discovery, Jan Clayton, a singer/actress who had made a few minor films for MGM. She was brought east and successfully auditioned for the part of Julie. The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of Pal Joey), had ever played on Broadway before. It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, John Fearnley, that the sole qualification for a dancing boy was that he be alive. Rodgers and Hammerstein reassembled much of the creative team that had made Oklahoma! a success, including director Rouben Mamoulian and choreographer Agnes de Mille. Miles White was the costume designer while Jo Mielziner (who had not worked on Oklahoma!) was the scenic and lighting designer. Even though Oklahoma! orchestrator Russell Bennett had informed Rodgers that he was unavailable to work on Carousel due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by Don Walker. A new member of the creative team was Trude Rittmann, who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s. Rehearsals began in January 1945; either Rodgers or Hammerstein was always present. Raitt was presented with the lyrics for "Soliloquy" on a five-foot long sheet of paper—the piece ran nearly eight minutes. Staging such a long solo number presented problems, and Raitt later stated that he felt that they were never fully addressed. At some point during rehearsals, Molnár came to see what they had done to his play. There are a number of variations on the story.Fordin, pp. 231–32 As Rodgers told it, while watching rehearsals with Hammerstein, the composer spotted Molnár in the rear of the theatre and whispered the news to his partner. Both sweated through an afternoon of rehearsal in which nothing seemed to go right. At the end, the two walked to the back of the theatre, expecting an angry reaction from Molnár. Instead, the playwright said enthusiastically, "What you have done is so beautiful. And you know what I like best? The ending!" Hammerstein wrote that Molnár became a regular attendee at rehearsals after that. Like most of the pair's works, Carousel contains a lengthy ballet, "Billy Makes a Journey", in the second act, as Billy looks down to the Earth from "Up There" and observes his daughter. In the original production the ballet was choreographed by de Mille. It began with Billy looking down from heaven at his wife in labor, with the village women gathered for a "birthing". The ballet involved every character in the play, some of whom spoke lines of dialogue, and contained a number of subplots. The focus was on Louise, played by Bambi Linn, who at first almost soars in her dance, expressing the innocence of childhood. She is teased and mocked by her schoolmates, and Louise becomes attracted to the rough carnival people, who symbolize Billy's world. A youth from the carnival attempts to seduce Louise, as she discovers her own sexuality, but he decides she is more girl than woman, and he leaves her. After Julie comforts her, Louise goes to a children's party, where she is shunned. The carnival people reappear and form a ring around the children's party, with Louise lost between the two groups. At the end, the performers form a huge carousel with their bodies. The play opened for tryouts in New Haven, Connecticut on March 22, 1945. The first act was well-received; the second act was not. Casto recalled that the second act finished about 1:30 a.m. The staff immediately sat down for a two-hour conference. Five scenes, half the ballet, and two songs were cut from the show as the result. John Fearnley commented, "Now I see why these people have hits. I never witnessed anything so brisk and brave in my life." De Mille said of this conference, "not three minutes had been wasted pleading for something cherished. Nor was there any idle joking. ... We cut and cut and cut and then we went to bed." By the time the company left New Haven, de Mille's ballet was down to forty minutes. A major concern with the second act was the effectiveness of the characters He and She (later called by Rodgers "Mr. and Mrs. God"), before whom Billy appeared after his death. Mr. and Mrs. God were depicted as a New England minister and his wife, seen in their parlor.Block (ed.), p. 129. At this time, according to the cast sheet distributed during the Boston run, Dr. Seldon was listed as the "Minister". The couple was still part of the show at the Boston opening. Rodgers said to Hammerstein, "We've got to get God out of that parlor". When Hammerstein inquired where he should put the deity, Rodgers replied, "I don't care where you put Him. Put Him on a ladder for all I care, only get Him out of that parlor!" Hammerstein duly put Mr. God (renamed the Starkeeper) atop a ladder, and Mrs. God was removed from the show. Rodgers biographer Meryle Secrest terms this change a mistake, leading to a more fantastic afterlife, which was later criticized by The New Republic as "a Rotarian atmosphere congenial to audiences who seek not reality but escape from reality, not truth but escape from truth". Hammerstein wrote that Molnár's advice, to combine two scenes into one, was key to pulling together the second act and represented "a more radical departure from the original than any change we had made". A reprise of "If I Loved You" was added in the second act, which Rodgers felt needed more music. Three weeks of tryouts in Boston followed the brief New Haven run, and the audience there gave the musical a warm reception. An even shorter version of the ballet was presented the final two weeks in Boston, but on the final night there, de Mille expanded it back to forty minutes, and it brought the house down, causing both Rodgers and Hammerstein to embrace her. Synopsis Act 1 Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("If I Loved You"). Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news—she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep"). Jigger and his shipmates, joined by Billy, then sing about life on the sea ("Blow High, Blow Low"). The whaler tries to recruit Billy to help with a robbery, but Billy declines, as the victim—Julie's former boss, Mr. Bascombe—might have to be killed. Mrs. Mullin enters and tries to tempt Billy back to the carousel (and to her). He would have to abandon Julie; a married barker cannot evoke the same sexual tension as one who is single. Billy reluctantly mulls it over as Julie arrives and the others leave. She tells him that she is pregnant, and Billy is overwhelmed with happiness, ending all thoughts of returning to the carousel. Once alone, Billy imagines the fun he will have with Bill Jr.—until he realizes that his child might be a girl, and reflects soberly that "you've got to be a father to a girl" ("Soliloquy"). Determined to provide financially for his future child, whatever the means, Billy decides to be Jigger's accomplice. The whole town leaves for the clambake. Billy, who had earlier refused to go, agrees to join in, to Julie's delight, as he realizes that being seen at the clambake is integral to his and Jigger's alibi ("Act I Finale"). Act 2 Everyone reminisces about the huge meal and much fun ("This Was a Real Nice Clambake"). Jigger tries to seduce Carrie; Enoch walks in at the wrong moment, and declares that he is finished with her ("Geraniums In the Winder"), as Jigger jeers ("There's Nothin' So Bad for a Woman"). The girls try to comfort Carrie, but for Julie all that matters is that "he's your feller and you love him" ("What's the Use of Wond'rin'?"). Julie sees Billy trying to sneak away with Jigger and, trying to stop him, feels the knife hidden in his shirt. She begs him to give it to her, but he refuses and leaves to commit the robbery. As they wait, Jigger and Billy gamble with cards. They stake their shares of the anticipated robbery spoils. Billy loses: his participation is now pointless. Unknown to Billy and Jigger, Mr. Bascombe, the intended victim, has already deposited the mill's money. The robbery fails: Bascombe pulls a gun on Billy while Jigger escapes. Billy stabs himself with his knife; Julie arrives just in time for him to say his last words to her and die. Julie strokes his hair, finally able to tell him that she loved him. Carrie and Enoch, reunited by the crisis, attempt to console Julie; Nettie arrives and gives Julie the resolve to keep going despite her despair ("You'll Never Walk Alone"). Billy's defiant spirit ("The Highest Judge of All") is taken Up There to see the Starkeeper, a heavenly official. The Starkeeper tells Billy that the good he did in life was not enough to get into heaven, but so long as there is a person alive who remembers him, he can return for a day to try to do good to redeem himself. He informs Billy that fifteen years have passed on Earth since his suicide, and suggests that Billy can get himself into heaven if he helps his daughter, Louise. He helps Billy look down from heaven to see her (instrumental ballet: "Billy Makes a Journey"). Louise has grown up to be lonely and bitter. The local children ostracize her because her father was a thief and a wife-beater. In the dance, a young ruffian, much like her father at that age, flirts with her and abandons her as too young. The dance concludes, and Billy is anxious to return to Earth and help his daughter. He steals a star to take with him, as the Starkeeper pretends not to notice. Outside Julie's cottage, Carrie describes her visit to New York with the now-wealthy Enoch. Carrie's husband and their many children enter to fetch her—the family must get ready for the high school graduation later that day. Enoch Jr., the oldest son, remains behind to talk with Louise, as Billy and the Heavenly Friend escorting him enter, invisible to the other characters. Louise confides in Enoch Jr. that she plans to run away from home with an acting troupe. He says that he will stop her by marrying her, but that his father will think her an unsuitable match. Louise is outraged: each insults the other's father, and Louise orders Enoch Jr. to go away. Billy, able to make himself visible at will, reveals himself to the sobbing Louise, pretending to be a friend of her father. He offers her a gift—the star he stole from heaven. She refuses it and, frustrated, he slaps her hand. He makes himself invisible, and Louise tells Julie what happened, stating that the slap miraculously felt like a kiss, not a blow—and Julie understands her perfectly. Louise retreats to the house, as Julie notices the star that Billy dropped; she picks it up and seems to feel Billy's presence ("If I Loved You (Reprise)"). Billy invisibly attends Louise's graduation, hoping for one last chance to help his daughter and redeem himself. The beloved town physician, Dr. Seldon (who resembles the Starkeeper) advises the graduating class not to rely on their parents' success or be held back by their failure (words directed at Louise). Seldon prompts everyone to sing an old song, "You'll Never Walk Alone". Billy, still invisible, whispers to Louise, telling her to believe Seldon's words, and when she tentatively reaches out to another girl, she learns she does not have to be an outcast. Billy goes to Julie, telling her at last that he loved her. As his widow and daughter join in the singing, Billy is taken to his heavenly reward. Principal roles and notable performers ° denotes original Broadway cast Musical numbers Act I"List of Songs", Carousel at the IBDB Database. Retrieved July 18, 2012 "The Carousel Waltz" – Orchestra "You're a Queer One, Julie Jordan" – Carrie Pipperidge and Julie Jordan "(When I Marry) Mister Snow" – Carrie "If I Loved You" – Billy Bigelow and Julie "June Is Bustin' Out All Over" – Nettie Fowler and Chorus "(When I Marry) Mister Snow" (reprise) – Carrie, Enoch Snow and Female Chorus "When the Children Are Asleep" – Enoch and Carrie "Blow High, Blow Low" – Jigger Craigin, Billy and Male Chorus "Soliloquy" – BillyAct II "This Was a Real Nice Clambake" – Carrie, Nettie, Julie, Enoch and Chorus "Geraniums in the Winder" – Enoch * "There's Nothin' So Bad for a Woman" – Jigger and Chorus "What's the Use of Wond'rin'?" – Julie "You'll Never Walk Alone" – Nettie "The Highest Judge of All" – Billy Ballet: "Billy Makes a Journey" – Orchestra "If I Loved You" (reprise) – Billy Finale: "You'll Never Walk Alone" (reprise) – Company Productions Early productions The original Broadway production opened at the Majestic Theatre on April 19, 1945. The dress rehearsal the day before had gone badly, and the pair feared the new work would not be well received. One successful last-minute change was to have de Mille choreograph the pantomime. The movement of the carnival crowd in the pantomime had been entrusted to Mamoulian, and his version was not working. Rodgers had injured his back the previous week, and he watched the opening from a stretcher propped in a box behind the curtain. Sedated with morphine, he could see only part of the stage. As he could not hear the audience's applause and laughter, he assumed the show was a failure. It was not until friends congratulated him later that evening that he realized that the curtain had been met by wild applause. Bambi Linn, who played Louise, was so enthusiastically received by the audience during her ballet that she was forced to break character, when she next appeared, and bow. Rodgers' daughter Mary caught sight of her friend, Stephen Sondheim, both teenagers then, across several rows; both had eyes wet with tears. The original production ran for 890 performances, closing on May 24, 1947. The original cast included John Raitt (Billy), Jan Clayton (Julie), Jean Darling (Carrie), Eric Mattson (Enoch Snow), Christine Johnson (Nettie Fowler), Murvyn Vye (Jigger), Bambi Linn (Louise) and Russell Collins (Starkeeper). In December 1945, Clayton left to star in the Broadway revival of Show Boat and was replaced by Iva Withers; Raitt was replaced by Henry Michel in January 1947; Darling was replaced by Margot Moser.Hischak, p. 62 After closing on Broadway, the show went on a national tour for two years. It played for five months in Chicago alone, visited twenty states and two Canadian cities, covered and played to nearly two million people. The touring company had a four-week run at New York City Center in January 1949. Following the City Center run, the show was moved back to the Majestic Theatre in the hopes of filling the theatre until South Pacific opened in early April. However, ticket sales were mediocre, and the show closed almost a month early. The musical premiered in the West End, London, at the Theatre Royal, Drury Lane on June 7, 1950. The production was restaged by Jerome Whyte, with a cast that included Stephen Douglass (Billy), Iva Withers (Julie) and Margot Moser (Carrie). Carousel ran in London for 566 performances, remaining there for over a year and a half. Subsequent productions Carousel was revived in 1954 and 1957 at City Center, presented by the New York City Center Light Opera Company. Both times, the production featured Barbara Cook, though she played Carrie in 1954 and Julie in 1957 (playing alongside Howard Keel as Billy). The production was then taken to Belgium to be performed at the 1958 Brussels World's Fair, with David Atkinson as Billy, Ruth Kobart as Nettie, and Clayton reprising the role of Julie, which she had originated. In August 1965, Rodgers and the Music Theater of Lincoln Center produced Carousel for 47 performances. John Raitt reprised the role of Billy, with Jerry Orbach as Jigger and Reid Shelton as Enoch Snow. The roles of the Starkeeper and Dr. Seldon were played by Edward Everett Horton in his final stage appearance. The following year, New York City Center Light Opera Company brought Carousel back to City Center for 22 performances, with Bruce Yarnell as Billy and Constance Towers as Julie. Nicholas Hytner directed a new production of Carousel in 1992, at London's Royal National Theatre, with choreography by Sir Kenneth MacMillan and designs by Bob Crowley. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival. As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride.Block, p. 175 Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel. Michael Hayden played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode. Hayden, Joanna Riding (Julie) and Janie Dee (Carrie) all won Olivier Awards for their performances. Patricia Routledge played Nettie. Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in The New York Times, looked like "a walking United Colors of Benetton ad". Clive Rowe, as Enoch, was nominated for an Olivier Award. The production's limited run from December 1992 through March 1993 was a sellout. It re-opened at the Shaftesbury Theatre in London in September 1993, presented by Cameron Mackintosh, where it continued until May 1994. The Hytner production moved to New York's Vivian Beaumont Theater, where it opened on March 24, 1994, and ran for 322 performances. This won five Tony Awards, including best musical revival, as well as awards for Hytner, MacMillan, Crowley and Audra McDonald (as Carrie). The cast also included Sally Murphy as Julie, Shirley Verrett as Nettie, Fisher Stevens as Jigger and Eddie Korbich as Enoch. One change made from the London to the New York production was to have Billy strike Louise across the face, rather than on the hand. According to Hayden, "He does the one unpardonable thing, the thing we can't forgive. It's a challenge for the audience to like him after that." The Hytner Carousel was presented in Japan in May 1995. A U.S. national tour with a scaled-down production began in February 1996 in Houston and closed in May 1997 in Providence, Rhode Island. Producers sought to feature young talent on the tour, with Patrick Wilson as Billy and Sarah Uriarte Berry, and later Jennifer Laura Thompson, as Julie. A revival opened at London's Savoy Theatre on December 2, 2008, after a week of previews, starring Jeremiah James (Billy), Alexandra Silber (Julie) and Lesley Garrett (Nettie). The production received warm to mixed reviews. It closed in June 2009, a month early. Michael Coveney, writing in The Independent, admired Rodgers' music but stated, "Lindsay Posner's efficient revival doesn't hold a candle to the National Theatre 1992 version". A production at Theater Basel, Switzerland, in 2016 to 2017, with German dialogue, was directed by Alexander Charim and choreographed by Teresa Rotemberg. Bryony Dwyer, Christian Miedl and Cheryl Studer starred, respectively, as Julie Jordan, Billy Bigelow and Nettie Fowler.<ref>[http://operabase.com/diary.cgi?lang=en&code=wsba&date=20161215 "Richard Rodgers: Carousel"] , Diary: Theater Basel, Operabase.com. Retrieved on March 8, 2018</ref> A semi-staged revival by the English National Opera opened at the London Coliseum in 2017. The production was directed by Lonny Price, conducted by David Charles Abell, and starred Alfie Boe as Billy, Katherine Jenkins as Julie and Nicholas Lyndhurst as the Starkeeper. The production received mixed to positive reviews. The third Broadway revival began previews in February 2018 at the Imperial Theatre and officially opened on April 12. It closed on September 16, 2018. The production starred Jessie Mueller, Joshua Henry, Renée Fleming, Lindsay Mendez and Alexander Gemignani. The production was directed by Jack O'Brien and choreographed by Justin Peck. The songs "Geraniums in the Winder" and "There's Nothin' So Bad for a Woman" were cut from this revival. Ben Brantley wrote in The New York Times, "The tragic inevitability of Carousel has seldom come across as warmly or as chillingly as it does in this vividly reimagined revival. ... [W]ith thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show's center has never seemed quite as ill-starred or, at the same time, as sexy. ... [T]he Starkeeper ... assumes new visibility throughout, taking on the role of Billy's angelic supervisor." Brantley strongly praised the choreography, all the performances and the designers. He was unconvinced, however, by the "mother-daughter dialogue that falls so abrasively on contemporary ears", where Julie tries to justify loving an abusive man, and other scenes in Act 2, particularly those set in heaven, and the optimism of the final scene. Most of the reviewers agreed that while the choreography and performances (especially the singing) were excellent, characterizing the production as sexy and sumptuous, O'Brien's direction did little to help the show deal with modern sensibilities about men's treatment of women, instead indulging in nostalgia. From July to September 2021 the Regent's Park Open Air Theatre in London is presenting a staging by its artistic director Timothy Sheader, with choreography by Drew McOnie. The cast includes Carly Bawden as Julie, Declan Bennett as Billy and Joanna Riding as Nettie. Film, television and concert versions [[File:Boothbay Harbor in Summer.jpg|thumb|upright=1.2|Boothbay Harbor, Maine, where the location shots for Carousels movie version were filmed]] A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma! It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando and conducted by Rob Fisher. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. Music and recordings Musical treatment Rodgers designed Carousel to be an almost continuous stream of music, especially in Act 1. In later years, Rodgers was asked if he had considered writing an opera. He stated that he had been sorely tempted to, but saw Carousel in operatic terms. He remembered, "We came very close to opera in the Majestic Theatre. ... There's much that is operatic in the music." Rodgers uses music in Carousel in subtle ways to differentiate characters and tell the audience of their emotional state. In "You're a Queer One, Julie Jordan", the music for the placid Carrie is characterized by even eighth-note rhythms, whereas the emotionally restless Julie's music is marked by dotted eighths and sixteenths; this rhythm will characterize her throughout the show. When Billy whistles a snatch of the song, he selects Julie's dotted notes rather than Carrie's. Reflecting the close association in the music between Julie and the as-yet unborn Louise, when Billy sings in "Soliloquy" of his daughter, who "gets hungry every night", he uses Julie's dotted rhythms. Such rhythms also characterize Julie's Act 2 song, "What's the Use of Wond'rin'". The stable love between Enoch and Carrie is strengthened by her willingness to let Enoch not only plan his entire life, but hers as well. This is reflected in "When the Children Are Asleep", where the two sing in close harmony, but Enoch musically interrupts his intended's turn at the chorus with the words "Dreams that won't be interrupted". Rodgers biographer Geoffrey Block, in his book on the Broadway musical, points out that though Billy may strike his wife, he allows her musical themes to become a part of him and never interrupts her music. Block suggests that, as reprehensible as Billy may be for his actions, Enoch requiring Carrie to act as "the little woman", and his having nine children with her (more than she had found acceptable in "When the Children are Asleep") can be considered to be even more abusive. The twelve-minute "bench scene", in which Billy and Julie get to know each other and which culminates with "If I Loved You", according to Hischak, "is considered the most completely integrated piece of music-drama in the American musical theatre". The scene is almost entirely drawn from Molnár and is one extended musical piece; Stephen Sondheim described it as "probably the single most important moment in the revolution of contemporary musicals". "If I Loved You" has been recorded many times, by such diverse artists as Frank Sinatra, Barbra Streisand, Sammy Davis Jr., Mario Lanza and Chad and Jeremy. The D-flat major theme that dominates the music for the second act ballet seems like a new melody to many audience members. It is, however, a greatly expanded development of a theme heard during "Soliloquy" at the line "I guess he'll call me 'The old man' ". When the pair discussed the song that would become "Soliloquy", Rodgers improvised at the piano to give Hammerstein an idea of how he envisioned the song. When Hammerstein presented his collaborator with the lyrics after two weeks of work (Hammerstein always wrote the words first, then Rodgers would write the melodies), Rodgers wrote the music for the eight-minute song in two hours. "What's the Use of Wond'rin' ", one of Julie's songs, worked well in the show but was never as popular on the radio or for recording, and Hammerstein believed that the lack of popularity was because he had concluded the final line, "And all the rest is talk" with a hard consonant, which does not allow the singer a vocal climax. Irving Berlin later stated that "You'll Never Walk Alone" had the same sort of effect on him as the 23rd Psalm. When singer Mel Tormé told Rodgers that "You'll Never Walk Alone" had made him cry, Rodgers nodded impatiently. "You're supposed to." The frequently recorded song has become a widely accepted hymn.Rodgers, p. 240 The cast recording of Carousel proved popular in Liverpool, like many Broadway albums, and in 1963, the Brian Epstein-managed band, Gerry and the Pacemakers had a number-one hit with the song. At the time, the top ten hits were played before Liverpool F.C. home matches; even after "You'll Never Walk Alone" dropped out of the top ten, fans continued to sing it, and it has become closely associated with the soccer team and the city of Liverpool. A BBC program, Soul Music, ranked it alongside "Silent Night" and "Abide With Me" in terms of its emotional impact and iconic status. Recordings The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut—as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.Fick, David. "The Best Carousel Recording", June 11, 2009. Retrieved on April 7, 2016 A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousels songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle. Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. Critical reception and legacy The musical received almost unanimous rave reviews after its opening in 1945. According to Hischak, reviews were not as exuberant as for Oklahoma! as the critics were not taken by surprise this time. John Chapman of the Daily News termed it "one of the finest musical plays I have ever seen and I shall remember it always". The New York Times's reviewer, Lewis Nichols, stated that "Richard Rodgers and Oscar Hammerstein 2d, who can do no wrong, have continued doing no wrong in adapting Liliom into a musical play. Their Carousel is on the whole delightful." Wilella Waldorf of the New York Post, however, complained, "Carousel seemed to us a rather long evening. The Oklahoma! formula is becoming a bit monotonous and so are Miss de Mille's ballets. All right, go ahead and shoot!"Suskin, Steven. Opening Night on Broadway. Schirmer Trade Books, 1990, p. 147. . Dance Magazine gave Linn plaudits for her role as Louise, stating, "Bambi doesn't come on until twenty minutes before eleven, and for the next forty minutes, she practically holds the audience in her hand". Howard Barnes in the New York Herald Tribune also applauded the dancing: "It has waited for Miss de Mille to come through with peculiarly American dance patterns for a musical show to become as much a dance as a song show." When the musical returned to New York in 1949, The New York Times reviewer Brooks Atkinson described Carousel as "a conspicuously superior musical play ... Carousel, which was warmly appreciated when it opened, seems like nothing less than a masterpiece now." In 1954, when Carousel was revived at City Center, Atkinson discussed the musical in his review: Carousel has no comment to make on anything of topical importance. The theme is timeless and universal: the devotion of two people who love each other through thick and thin, complicated in this case by the wayward personality of the man, who cannot fulfill the responsibilities he has assumed.  ... Billy is a bum, but Carousel recognizes the decency of his motives and admires his independence. There are no slick solutions in Carousel. Stephen Sondheim noted the duo's ability to take the innovations of Oklahoma! and apply them to a serious setting: "Oklahoma! is about a picnic, Carousel is about life and death." Critic Eric Bentley, on the other hand, wrote that "the last scene of Carousel is an impertinence: I refuse to be lectured to by a musical comedy scriptwriter on the education of children, the nature of the good life, and the contribution of the American small town to the salvation of souls."New York Times critic Frank Rich said of the 1992 London production: "What is remarkable about Mr. Hytner's direction, aside from its unorthodox faith in the virtues of simplicity and stillness, is its ability to make a 1992 audience believe in Hammerstein's vision of redemption, which has it that a dead sinner can return to Earth to do godly good." The Hytner production in New York was hailed by many critics as a grittier Carousel, which they deemed more appropriate for the 1990s. Clive Barnes of the New York Post called it a "defining Carousel—hard-nosed, imaginative, and exciting." Critic Michael Billington has commented that "lyrically [Carousel] comes perilously close to acceptance of the inevitability of domestic violence." BroadwayWorld.com stated in 2013 that Carousel is now "considered somewhat controversial in terms of its attitudes on domestic violence" because Julie chooses to stay with Billy despite the abuse; actress Kelli O'Hara noted that the domestic violence that Julie "chooses to deal with – is a real, existing and very complicated thing. And exploring it is an important part of healing it." Rodgers considered Carousel his favorite of all his musicals and wrote, "it affects me deeply every time I see it performed". In 1999, Time magazine, in its "Best of the Century" list, named Carousel the Best Musical of the 20th century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical, and this show features their most beautiful score and the most skillful and affecting example of their musical storytelling". Hammerstein's grandson, Oscar Andrew Hammerstein, in his book about his family, suggested that the wartime situation made Carousel's ending especially poignant to its original viewers, "Every American grieved the loss of a brother, son, father, or friend ... the audience empathized with [Billy's] all-too-human efforts to offer advice, to seek forgiveness, to complete an unfinished life, and to bid a proper good-bye from beyond the grave." Author and composer Ethan Mordden agreed with that perspective: If Oklahoma! developed the moral argument for sending American boys overseas, Carousel offered consolation to those wives and mothers whose boys would only return in spirit. The meaning lay not in the tragedy of the present, but in the hope for a future where no one walks alone. Awards and nominations Original 1945 Broadway productionNote: The Tony Awards were not established until 1947, and so Carousel was not eligible to win any Tonys at its premiere. 1957 revival 1992 London revival 1994 Broadway revival 2018 Broadway revival References Bibliography Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. New York: Oxford University Press US, 2004. . Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press US, 2006. . Bradley, Ian. You've Got to Have a Dream: The Message of the Broadway Musical. Louisville, Ky., Westminster John Knox Press, 2005. 978-0-664-22854-5. Easton, Carol. No Intermission: The Life of Agnes DeMille. Jefferson, N.C.: Da Capo Press, 2000 (1st DaCapo Press edition). . Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. . Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. . Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. . Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. . Molnár, Ferenc. Liliom: A Legend in Seven Scenes and a Prologue. New York: Boni and Liveright, 1921. Mordden, Ethan. "Rodgers & Hammerstein". New York: Harry N. Abrams, Inc., 1992. . Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2002. . Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. . Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2001. . External links Carousel at guidetomusicaltheatre.com Carousel info page on StageAgent.com – Carousel plot summary and character descriptions (1967 TV adaptation) 1945 musicals Broadway musicals Musicals by Rodgers and Hammerstein West End musicals Musicals based on plays Grammy Hall of Fame Award recipients Maine in fiction Fiction set in 1873 Fiction about the afterlife Plays set in Maine Plays set in the 19th century Tony Award-winning musicals

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Explain the concert aspect of Carousel?

Explain the concert aspect of Carousel?

Carousel (musical)

A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. CANNOTANSWER

The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall.

Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that Carousel was his favorite of all his musicals. Following the spectacular success of the first Rodgers and Hammerstein musical, Oklahoma! (1943), the pair sought to collaborate on another piece, knowing that any resulting work would be compared with Oklahoma!, most likely unfavorably. They were initially reluctant to seek the rights to Liliom; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful. The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. Carousel initially ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as Oklahoma!, the piece has been repeatedly revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in London, in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, Time magazine named Carousel the best musical of the 20th century. Background Liliom Ferenc Molnár's Hungarian-language drama, Liliom, premiered in Budapest in 1909. The audience was puzzled by the work, and it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. Liliom was not presented again until after World War I. When it reappeared on the Budapest stage, it was a tremendous hit. Except for the ending, the plots of Liliom and Carousel are very similar. Andreas Zavocky (nicknamed Liliom, the Hungarian word for "lily", a slang term for "tough guy"), a carnival barker, falls in love with Julie Zeller, a servant girl, and they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, and Liliom stabs himself. He dies, and his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory. On his return to Earth, Liliom encounters his daughter, Louise, who like her mother is now a factory worker. Saying that he knew her father, he tries to give her a star he stole from the heavens. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie confronts him, but finds herself unable to be angry with him. Liliom is ushered off to his fate, presumably Hell, and Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is very possible for that to happen. An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, uncredited, was Rodgers' first major partner Lorenz Hart. The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, and the play was a success, running 300 performances. A 1940 revival with Burgess Meredith and Ingrid Bergman was seen by both Hammerstein and Rodgers. Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell; Liliom crying out to the distant carousel the glad news that he is to be a father; the two thieves gambling for the spoils of their prospective robbery; Marie and Wolf posing for their portrait while the broken-hearted Julie stands looking after the vanishing Liliom, the thieves' song ringing in her ears; the two policemen grousing about pay and pensions while Liliom lies bleeding to death; Liliom furtively proffering his daughter the star he has stolen for her in heaven. ... The temptation to count the whole scintillating string is difficult to resist. Inception In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940). Some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot (in the "Slaughter on Tenth Avenue" scene), while Pal Joey flouted Broadway tradition by presenting a knave as its hero. Hammerstein had written or co-written the words for such hits as Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, "The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good. By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, becoming unreliable and prompting Rodgers to approach Hammerstein to ask if he would consider working with him. Hammerstein was eager to do so, and their first collaboration was Oklahoma! (1943). Thomas Hischak states, in his The Rodgers and Hammerstein Encyclopedia, that Oklahoma! is "the single most influential work in the American musical theatre. In fact, the history of the Broadway musical can accurately be divided into what came before Oklahoma! and what came after it." An innovation for its time in integrating song, character, plot and dance, Oklahoma! would serve, according to Hischak, as "the model for Broadway shows for decades", and proved a huge popular and financial success. Once it was well-launched, what to do as an encore was a daunting challenge for the pair. Film producer Samuel Goldwyn saw Oklahoma! and advised Rodgers to shoot himself, which according to Rodgers "was Sam's blunt but funny way of telling me that I'd never create another show as good as Oklahoma!" As they considered new projects, Hammerstein wrote, "We're such fools. No matter what we do, everyone is bound to say, 'This is not another Oklahoma! " Oklahoma! had been a struggle to finance and produce. Hammerstein and Rodgers met weekly in 1943 with Theresa Helburn and Lawrence Langner of the Theatre Guild, producers of the blockbuster musical, who together formed what they termed "the Gloat Club". At one such luncheon, Helburn and Langner proposed to Rodgers and Hammerstein that they turn Molnár's Liliom into a musical. Both men refused—they had no feeling for the Budapest setting and thought that the unhappy ending was unsuitable for musical theatre. In addition, given the unstable wartime political situation, they might need to change the setting from Hungary while in rehearsal. At the next luncheon, Helburn and Langner again proposed Liliom, suggesting that they move the setting to Louisiana and make Liliom a Creole. Rodgers and Hammerstein played with the idea over the next few weeks, but decided that Creole dialect, filled with "zis" and "zose", would sound corny and would make it difficult to write effective lyrics. A breakthrough came when Rodgers, who owned a house in Connecticut, proposed a New England setting. Hammerstein wrote of this suggestion in 1945, I began to see an attractive ensemble—sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute ... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music. Molnár's opposition to having his works adapted was also an issue; he had famously turned down Giacomo Puccini when the great composer wished to transform Liliom into an opera, stating that he wanted the piece to be remembered as his, not Puccini's. In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from Kurt Weill to adapt the play into a musical. The pair continued to work on the preliminary ideas for a Liliom adaptation while pursuing other projects in late 1943 and early 1944—writing the film musical State Fair and producing I Remember Mama on Broadway. Meanwhile, the Theatre Guild took Molnár to see Oklahoma! Molnár stated that if Rodgers and Hammerstein could adapt Liliom as beautifully as they had modified Green Grow the Lilacs into Oklahoma!, he would be pleased to have them do it. The Guild obtained the rights from Molnár in October 1943. The playwright received one percent of the gross and $2,500 for "personal services". The duo insisted, as part of the contract, that Molnár permit them to make changes in the plot. At first, the playwright refused, but eventually yielded. Hammerstein later stated that if this point had not been won, "we could never have made Carousel." In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in Pal Joey. Rodgers and Hart had overcome the problem with a song that Joey sings to himself, "I'm Talking to My Pal". This inspired "Soliloquy". Both partners later told a story that "Soliloquy" was only intended to be a song about Liliom's dreams of a son, but that Rodgers, who had two daughters, insisted that Liliom consider that Julie might have a girl. However, the notes taken at their meeting of December 7, 1943 state: "Mr. Rodgers suggested a fine musical number for the end of the scene where Liliom discovers he is to be a father, in which he sings first with pride of the growth of a boy, and then suddenly realizes it might be a girl and changes completely." Hammerstein and Rodgers returned to the Liliom project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results. Green Grow the Lilacs had been a little-known work; Liliom was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy. Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in Liliom; they became Enoch Snow and Carrie Pipperidge. "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for Oklahoma! but not used. Molnár's ending was unsuitable, and after a couple of false starts, Hammerstein conceived the graduation scene that ends the musical. According to Frederick Nolan in his book on the team's works: "From that scene the song "You'll Never Walk Alone" sprang almost naturally." In spite of Hammerstein's simple lyrics for "You'll Never Walk Alone", Rodgers had great difficulty in setting it to music. Rodgers explained his rationale for the changed ending, Liliom was a tragedy about a man who cannot learn to live with other people. The way Molnár wrote it, the man ends up hitting his daughter and then having to go back to purgatory, leaving his daughter helpless and hopeless. We couldn't accept that. The way we ended Carousel it may still be a tragedy but it's a hopeful one because in the final scene it is clear that the child has at last learned how to express herself and communicate with others. When the pair decided to make "This Was a Real Nice Clambake" into an ensemble number, Hammerstein realized he had no idea what a clambake was like, and researched the matter. Based on his initial findings, he wrote the line, "First came codfish chowder". However, further research convinced him the proper term was "codhead chowder", a term unfamiliar to many playgoers. He decided to keep it as "codfish". When the song proceeded to discuss the lobsters consumed at the feast, Hammerstein wrote the line "We slit 'em down the back/And peppered 'em good". He was grieved to hear from a friend that lobsters are always slit down the front. The lyricist sent a researcher to a seafood restaurant and heard back that lobsters are always slit down the back. Hammerstein concluded that there is disagreement about which side of a lobster is the back. One error not caught involved the song "June Is Bustin' Out All Over", in which sheep are depicted as seeking to mate in late spring—they actually do so in the winter. Whenever this was brought to Hammerstein's attention, he told his informant that 1873 was a special year, in which sheep mated in the spring. Rodgers early decided to dispense with an overture, feeling that the music was hard to hear over the banging of seats as latecomers settled themselves. In his autobiography, Rodgers complained that only the brass section can be heard during an overture because there are never enough strings in a musical's small orchestra. He determined to force the audience to concentrate from the beginning by opening with a pantomime scene accompanied by what became known as "The Carousel Waltz". The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience. Author Ethan Mordden described the effectiveness of this opening: Other characters catch our notice—Mr. Bascombe, the pompous mill owner, Mrs. Mullin, the widow who runs the carousel and, apparently, Billy; a dancing bear; an acrobat. But what draws us in is the intensity with which Julie regards Billy—the way she stands frozen, staring at him, while everyone else at the fair is swaying to the rhythm of Billy's spiel. And as Julie and Billy ride together on the swirling carousel, and the stage picture surges with the excitement of the crowd, and the orchestra storms to a climax, and the curtain falls, we realize that R & H have not only skipped the overture and the opening number but the exposition as well. They have plunged into the story, right into the middle of it, in the most intense first scene any musical ever had. Casting and out-of-town tryouts The casting for Carousel began when Oklahoma!s production team, including Rodgers and Hammerstein, was seeking a replacement for the part of Curly (the male lead in Oklahoma!). Lawrence Langner had heard, through a relative, of a California singer named John Raitt, who might be suitable for the part. Langner went to hear Raitt, then urged the others to bring Raitt to New York for an audition. Raitt asked to sing "Largo al factotum", Figaro's aria from The Barber of Seville, to warm up. The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed). Theresa Helburn made another California discovery, Jan Clayton, a singer/actress who had made a few minor films for MGM. She was brought east and successfully auditioned for the part of Julie. The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of Pal Joey), had ever played on Broadway before. It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, John Fearnley, that the sole qualification for a dancing boy was that he be alive. Rodgers and Hammerstein reassembled much of the creative team that had made Oklahoma! a success, including director Rouben Mamoulian and choreographer Agnes de Mille. Miles White was the costume designer while Jo Mielziner (who had not worked on Oklahoma!) was the scenic and lighting designer. Even though Oklahoma! orchestrator Russell Bennett had informed Rodgers that he was unavailable to work on Carousel due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by Don Walker. A new member of the creative team was Trude Rittmann, who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s. Rehearsals began in January 1945; either Rodgers or Hammerstein was always present. Raitt was presented with the lyrics for "Soliloquy" on a five-foot long sheet of paper—the piece ran nearly eight minutes. Staging such a long solo number presented problems, and Raitt later stated that he felt that they were never fully addressed. At some point during rehearsals, Molnár came to see what they had done to his play. There are a number of variations on the story.Fordin, pp. 231–32 As Rodgers told it, while watching rehearsals with Hammerstein, the composer spotted Molnár in the rear of the theatre and whispered the news to his partner. Both sweated through an afternoon of rehearsal in which nothing seemed to go right. At the end, the two walked to the back of the theatre, expecting an angry reaction from Molnár. Instead, the playwright said enthusiastically, "What you have done is so beautiful. And you know what I like best? The ending!" Hammerstein wrote that Molnár became a regular attendee at rehearsals after that. Like most of the pair's works, Carousel contains a lengthy ballet, "Billy Makes a Journey", in the second act, as Billy looks down to the Earth from "Up There" and observes his daughter. In the original production the ballet was choreographed by de Mille. It began with Billy looking down from heaven at his wife in labor, with the village women gathered for a "birthing". The ballet involved every character in the play, some of whom spoke lines of dialogue, and contained a number of subplots. The focus was on Louise, played by Bambi Linn, who at first almost soars in her dance, expressing the innocence of childhood. She is teased and mocked by her schoolmates, and Louise becomes attracted to the rough carnival people, who symbolize Billy's world. A youth from the carnival attempts to seduce Louise, as she discovers her own sexuality, but he decides she is more girl than woman, and he leaves her. After Julie comforts her, Louise goes to a children's party, where she is shunned. The carnival people reappear and form a ring around the children's party, with Louise lost between the two groups. At the end, the performers form a huge carousel with their bodies. The play opened for tryouts in New Haven, Connecticut on March 22, 1945. The first act was well-received; the second act was not. Casto recalled that the second act finished about 1:30 a.m. The staff immediately sat down for a two-hour conference. Five scenes, half the ballet, and two songs were cut from the show as the result. John Fearnley commented, "Now I see why these people have hits. I never witnessed anything so brisk and brave in my life." De Mille said of this conference, "not three minutes had been wasted pleading for something cherished. Nor was there any idle joking. ... We cut and cut and cut and then we went to bed." By the time the company left New Haven, de Mille's ballet was down to forty minutes. A major concern with the second act was the effectiveness of the characters He and She (later called by Rodgers "Mr. and Mrs. God"), before whom Billy appeared after his death. Mr. and Mrs. God were depicted as a New England minister and his wife, seen in their parlor.Block (ed.), p. 129. At this time, according to the cast sheet distributed during the Boston run, Dr. Seldon was listed as the "Minister". The couple was still part of the show at the Boston opening. Rodgers said to Hammerstein, "We've got to get God out of that parlor". When Hammerstein inquired where he should put the deity, Rodgers replied, "I don't care where you put Him. Put Him on a ladder for all I care, only get Him out of that parlor!" Hammerstein duly put Mr. God (renamed the Starkeeper) atop a ladder, and Mrs. God was removed from the show. Rodgers biographer Meryle Secrest terms this change a mistake, leading to a more fantastic afterlife, which was later criticized by The New Republic as "a Rotarian atmosphere congenial to audiences who seek not reality but escape from reality, not truth but escape from truth". Hammerstein wrote that Molnár's advice, to combine two scenes into one, was key to pulling together the second act and represented "a more radical departure from the original than any change we had made". A reprise of "If I Loved You" was added in the second act, which Rodgers felt needed more music. Three weeks of tryouts in Boston followed the brief New Haven run, and the audience there gave the musical a warm reception. An even shorter version of the ballet was presented the final two weeks in Boston, but on the final night there, de Mille expanded it back to forty minutes, and it brought the house down, causing both Rodgers and Hammerstein to embrace her. Synopsis Act 1 Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("If I Loved You"). Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news—she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep"). Jigger and his shipmates, joined by Billy, then sing about life on the sea ("Blow High, Blow Low"). The whaler tries to recruit Billy to help with a robbery, but Billy declines, as the victim—Julie's former boss, Mr. Bascombe—might have to be killed. Mrs. Mullin enters and tries to tempt Billy back to the carousel (and to her). He would have to abandon Julie; a married barker cannot evoke the same sexual tension as one who is single. Billy reluctantly mulls it over as Julie arrives and the others leave. She tells him that she is pregnant, and Billy is overwhelmed with happiness, ending all thoughts of returning to the carousel. Once alone, Billy imagines the fun he will have with Bill Jr.—until he realizes that his child might be a girl, and reflects soberly that "you've got to be a father to a girl" ("Soliloquy"). Determined to provide financially for his future child, whatever the means, Billy decides to be Jigger's accomplice. The whole town leaves for the clambake. Billy, who had earlier refused to go, agrees to join in, to Julie's delight, as he realizes that being seen at the clambake is integral to his and Jigger's alibi ("Act I Finale"). Act 2 Everyone reminisces about the huge meal and much fun ("This Was a Real Nice Clambake"). Jigger tries to seduce Carrie; Enoch walks in at the wrong moment, and declares that he is finished with her ("Geraniums In the Winder"), as Jigger jeers ("There's Nothin' So Bad for a Woman"). The girls try to comfort Carrie, but for Julie all that matters is that "he's your feller and you love him" ("What's the Use of Wond'rin'?"). Julie sees Billy trying to sneak away with Jigger and, trying to stop him, feels the knife hidden in his shirt. She begs him to give it to her, but he refuses and leaves to commit the robbery. As they wait, Jigger and Billy gamble with cards. They stake their shares of the anticipated robbery spoils. Billy loses: his participation is now pointless. Unknown to Billy and Jigger, Mr. Bascombe, the intended victim, has already deposited the mill's money. The robbery fails: Bascombe pulls a gun on Billy while Jigger escapes. Billy stabs himself with his knife; Julie arrives just in time for him to say his last words to her and die. Julie strokes his hair, finally able to tell him that she loved him. Carrie and Enoch, reunited by the crisis, attempt to console Julie; Nettie arrives and gives Julie the resolve to keep going despite her despair ("You'll Never Walk Alone"). Billy's defiant spirit ("The Highest Judge of All") is taken Up There to see the Starkeeper, a heavenly official. The Starkeeper tells Billy that the good he did in life was not enough to get into heaven, but so long as there is a person alive who remembers him, he can return for a day to try to do good to redeem himself. He informs Billy that fifteen years have passed on Earth since his suicide, and suggests that Billy can get himself into heaven if he helps his daughter, Louise. He helps Billy look down from heaven to see her (instrumental ballet: "Billy Makes a Journey"). Louise has grown up to be lonely and bitter. The local children ostracize her because her father was a thief and a wife-beater. In the dance, a young ruffian, much like her father at that age, flirts with her and abandons her as too young. The dance concludes, and Billy is anxious to return to Earth and help his daughter. He steals a star to take with him, as the Starkeeper pretends not to notice. Outside Julie's cottage, Carrie describes her visit to New York with the now-wealthy Enoch. Carrie's husband and their many children enter to fetch her—the family must get ready for the high school graduation later that day. Enoch Jr., the oldest son, remains behind to talk with Louise, as Billy and the Heavenly Friend escorting him enter, invisible to the other characters. Louise confides in Enoch Jr. that she plans to run away from home with an acting troupe. He says that he will stop her by marrying her, but that his father will think her an unsuitable match. Louise is outraged: each insults the other's father, and Louise orders Enoch Jr. to go away. Billy, able to make himself visible at will, reveals himself to the sobbing Louise, pretending to be a friend of her father. He offers her a gift—the star he stole from heaven. She refuses it and, frustrated, he slaps her hand. He makes himself invisible, and Louise tells Julie what happened, stating that the slap miraculously felt like a kiss, not a blow—and Julie understands her perfectly. Louise retreats to the house, as Julie notices the star that Billy dropped; she picks it up and seems to feel Billy's presence ("If I Loved You (Reprise)"). Billy invisibly attends Louise's graduation, hoping for one last chance to help his daughter and redeem himself. The beloved town physician, Dr. Seldon (who resembles the Starkeeper) advises the graduating class not to rely on their parents' success or be held back by their failure (words directed at Louise). Seldon prompts everyone to sing an old song, "You'll Never Walk Alone". Billy, still invisible, whispers to Louise, telling her to believe Seldon's words, and when she tentatively reaches out to another girl, she learns she does not have to be an outcast. Billy goes to Julie, telling her at last that he loved her. As his widow and daughter join in the singing, Billy is taken to his heavenly reward. Principal roles and notable performers ° denotes original Broadway cast Musical numbers Act I"List of Songs", Carousel at the IBDB Database. Retrieved July 18, 2012 "The Carousel Waltz" – Orchestra "You're a Queer One, Julie Jordan" – Carrie Pipperidge and Julie Jordan "(When I Marry) Mister Snow" – Carrie "If I Loved You" – Billy Bigelow and Julie "June Is Bustin' Out All Over" – Nettie Fowler and Chorus "(When I Marry) Mister Snow" (reprise) – Carrie, Enoch Snow and Female Chorus "When the Children Are Asleep" – Enoch and Carrie "Blow High, Blow Low" – Jigger Craigin, Billy and Male Chorus "Soliloquy" – BillyAct II "This Was a Real Nice Clambake" – Carrie, Nettie, Julie, Enoch and Chorus "Geraniums in the Winder" – Enoch * "There's Nothin' So Bad for a Woman" – Jigger and Chorus "What's the Use of Wond'rin'?" – Julie "You'll Never Walk Alone" – Nettie "The Highest Judge of All" – Billy Ballet: "Billy Makes a Journey" – Orchestra "If I Loved You" (reprise) – Billy Finale: "You'll Never Walk Alone" (reprise) – Company Productions Early productions The original Broadway production opened at the Majestic Theatre on April 19, 1945. The dress rehearsal the day before had gone badly, and the pair feared the new work would not be well received. One successful last-minute change was to have de Mille choreograph the pantomime. The movement of the carnival crowd in the pantomime had been entrusted to Mamoulian, and his version was not working. Rodgers had injured his back the previous week, and he watched the opening from a stretcher propped in a box behind the curtain. Sedated with morphine, he could see only part of the stage. As he could not hear the audience's applause and laughter, he assumed the show was a failure. It was not until friends congratulated him later that evening that he realized that the curtain had been met by wild applause. Bambi Linn, who played Louise, was so enthusiastically received by the audience during her ballet that she was forced to break character, when she next appeared, and bow. Rodgers' daughter Mary caught sight of her friend, Stephen Sondheim, both teenagers then, across several rows; both had eyes wet with tears. The original production ran for 890 performances, closing on May 24, 1947. The original cast included John Raitt (Billy), Jan Clayton (Julie), Jean Darling (Carrie), Eric Mattson (Enoch Snow), Christine Johnson (Nettie Fowler), Murvyn Vye (Jigger), Bambi Linn (Louise) and Russell Collins (Starkeeper). In December 1945, Clayton left to star in the Broadway revival of Show Boat and was replaced by Iva Withers; Raitt was replaced by Henry Michel in January 1947; Darling was replaced by Margot Moser.Hischak, p. 62 After closing on Broadway, the show went on a national tour for two years. It played for five months in Chicago alone, visited twenty states and two Canadian cities, covered and played to nearly two million people. The touring company had a four-week run at New York City Center in January 1949. Following the City Center run, the show was moved back to the Majestic Theatre in the hopes of filling the theatre until South Pacific opened in early April. However, ticket sales were mediocre, and the show closed almost a month early. The musical premiered in the West End, London, at the Theatre Royal, Drury Lane on June 7, 1950. The production was restaged by Jerome Whyte, with a cast that included Stephen Douglass (Billy), Iva Withers (Julie) and Margot Moser (Carrie). Carousel ran in London for 566 performances, remaining there for over a year and a half. Subsequent productions Carousel was revived in 1954 and 1957 at City Center, presented by the New York City Center Light Opera Company. Both times, the production featured Barbara Cook, though she played Carrie in 1954 and Julie in 1957 (playing alongside Howard Keel as Billy). The production was then taken to Belgium to be performed at the 1958 Brussels World's Fair, with David Atkinson as Billy, Ruth Kobart as Nettie, and Clayton reprising the role of Julie, which she had originated. In August 1965, Rodgers and the Music Theater of Lincoln Center produced Carousel for 47 performances. John Raitt reprised the role of Billy, with Jerry Orbach as Jigger and Reid Shelton as Enoch Snow. The roles of the Starkeeper and Dr. Seldon were played by Edward Everett Horton in his final stage appearance. The following year, New York City Center Light Opera Company brought Carousel back to City Center for 22 performances, with Bruce Yarnell as Billy and Constance Towers as Julie. Nicholas Hytner directed a new production of Carousel in 1992, at London's Royal National Theatre, with choreography by Sir Kenneth MacMillan and designs by Bob Crowley. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival. As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride.Block, p. 175 Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel. Michael Hayden played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode. Hayden, Joanna Riding (Julie) and Janie Dee (Carrie) all won Olivier Awards for their performances. Patricia Routledge played Nettie. Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in The New York Times, looked like "a walking United Colors of Benetton ad". Clive Rowe, as Enoch, was nominated for an Olivier Award. The production's limited run from December 1992 through March 1993 was a sellout. It re-opened at the Shaftesbury Theatre in London in September 1993, presented by Cameron Mackintosh, where it continued until May 1994. The Hytner production moved to New York's Vivian Beaumont Theater, where it opened on March 24, 1994, and ran for 322 performances. This won five Tony Awards, including best musical revival, as well as awards for Hytner, MacMillan, Crowley and Audra McDonald (as Carrie). The cast also included Sally Murphy as Julie, Shirley Verrett as Nettie, Fisher Stevens as Jigger and Eddie Korbich as Enoch. One change made from the London to the New York production was to have Billy strike Louise across the face, rather than on the hand. According to Hayden, "He does the one unpardonable thing, the thing we can't forgive. It's a challenge for the audience to like him after that." The Hytner Carousel was presented in Japan in May 1995. A U.S. national tour with a scaled-down production began in February 1996 in Houston and closed in May 1997 in Providence, Rhode Island. Producers sought to feature young talent on the tour, with Patrick Wilson as Billy and Sarah Uriarte Berry, and later Jennifer Laura Thompson, as Julie. A revival opened at London's Savoy Theatre on December 2, 2008, after a week of previews, starring Jeremiah James (Billy), Alexandra Silber (Julie) and Lesley Garrett (Nettie). The production received warm to mixed reviews. It closed in June 2009, a month early. Michael Coveney, writing in The Independent, admired Rodgers' music but stated, "Lindsay Posner's efficient revival doesn't hold a candle to the National Theatre 1992 version". A production at Theater Basel, Switzerland, in 2016 to 2017, with German dialogue, was directed by Alexander Charim and choreographed by Teresa Rotemberg. Bryony Dwyer, Christian Miedl and Cheryl Studer starred, respectively, as Julie Jordan, Billy Bigelow and Nettie Fowler.<ref>[http://operabase.com/diary.cgi?lang=en&code=wsba&date=20161215 "Richard Rodgers: Carousel"] , Diary: Theater Basel, Operabase.com. Retrieved on March 8, 2018</ref> A semi-staged revival by the English National Opera opened at the London Coliseum in 2017. The production was directed by Lonny Price, conducted by David Charles Abell, and starred Alfie Boe as Billy, Katherine Jenkins as Julie and Nicholas Lyndhurst as the Starkeeper. The production received mixed to positive reviews. The third Broadway revival began previews in February 2018 at the Imperial Theatre and officially opened on April 12. It closed on September 16, 2018. The production starred Jessie Mueller, Joshua Henry, Renée Fleming, Lindsay Mendez and Alexander Gemignani. The production was directed by Jack O'Brien and choreographed by Justin Peck. The songs "Geraniums in the Winder" and "There's Nothin' So Bad for a Woman" were cut from this revival. Ben Brantley wrote in The New York Times, "The tragic inevitability of Carousel has seldom come across as warmly or as chillingly as it does in this vividly reimagined revival. ... [W]ith thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show's center has never seemed quite as ill-starred or, at the same time, as sexy. ... [T]he Starkeeper ... assumes new visibility throughout, taking on the role of Billy's angelic supervisor." Brantley strongly praised the choreography, all the performances and the designers. He was unconvinced, however, by the "mother-daughter dialogue that falls so abrasively on contemporary ears", where Julie tries to justify loving an abusive man, and other scenes in Act 2, particularly those set in heaven, and the optimism of the final scene. Most of the reviewers agreed that while the choreography and performances (especially the singing) were excellent, characterizing the production as sexy and sumptuous, O'Brien's direction did little to help the show deal with modern sensibilities about men's treatment of women, instead indulging in nostalgia. From July to September 2021 the Regent's Park Open Air Theatre in London is presenting a staging by its artistic director Timothy Sheader, with choreography by Drew McOnie. The cast includes Carly Bawden as Julie, Declan Bennett as Billy and Joanna Riding as Nettie. Film, television and concert versions [[File:Boothbay Harbor in Summer.jpg|thumb|upright=1.2|Boothbay Harbor, Maine, where the location shots for Carousels movie version were filmed]] A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma! It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando and conducted by Rob Fisher. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. Music and recordings Musical treatment Rodgers designed Carousel to be an almost continuous stream of music, especially in Act 1. In later years, Rodgers was asked if he had considered writing an opera. He stated that he had been sorely tempted to, but saw Carousel in operatic terms. He remembered, "We came very close to opera in the Majestic Theatre. ... There's much that is operatic in the music." Rodgers uses music in Carousel in subtle ways to differentiate characters and tell the audience of their emotional state. In "You're a Queer One, Julie Jordan", the music for the placid Carrie is characterized by even eighth-note rhythms, whereas the emotionally restless Julie's music is marked by dotted eighths and sixteenths; this rhythm will characterize her throughout the show. When Billy whistles a snatch of the song, he selects Julie's dotted notes rather than Carrie's. Reflecting the close association in the music between Julie and the as-yet unborn Louise, when Billy sings in "Soliloquy" of his daughter, who "gets hungry every night", he uses Julie's dotted rhythms. Such rhythms also characterize Julie's Act 2 song, "What's the Use of Wond'rin'". The stable love between Enoch and Carrie is strengthened by her willingness to let Enoch not only plan his entire life, but hers as well. This is reflected in "When the Children Are Asleep", where the two sing in close harmony, but Enoch musically interrupts his intended's turn at the chorus with the words "Dreams that won't be interrupted". Rodgers biographer Geoffrey Block, in his book on the Broadway musical, points out that though Billy may strike his wife, he allows her musical themes to become a part of him and never interrupts her music. Block suggests that, as reprehensible as Billy may be for his actions, Enoch requiring Carrie to act as "the little woman", and his having nine children with her (more than she had found acceptable in "When the Children are Asleep") can be considered to be even more abusive. The twelve-minute "bench scene", in which Billy and Julie get to know each other and which culminates with "If I Loved You", according to Hischak, "is considered the most completely integrated piece of music-drama in the American musical theatre". The scene is almost entirely drawn from Molnár and is one extended musical piece; Stephen Sondheim described it as "probably the single most important moment in the revolution of contemporary musicals". "If I Loved You" has been recorded many times, by such diverse artists as Frank Sinatra, Barbra Streisand, Sammy Davis Jr., Mario Lanza and Chad and Jeremy. The D-flat major theme that dominates the music for the second act ballet seems like a new melody to many audience members. It is, however, a greatly expanded development of a theme heard during "Soliloquy" at the line "I guess he'll call me 'The old man' ". When the pair discussed the song that would become "Soliloquy", Rodgers improvised at the piano to give Hammerstein an idea of how he envisioned the song. When Hammerstein presented his collaborator with the lyrics after two weeks of work (Hammerstein always wrote the words first, then Rodgers would write the melodies), Rodgers wrote the music for the eight-minute song in two hours. "What's the Use of Wond'rin' ", one of Julie's songs, worked well in the show but was never as popular on the radio or for recording, and Hammerstein believed that the lack of popularity was because he had concluded the final line, "And all the rest is talk" with a hard consonant, which does not allow the singer a vocal climax. Irving Berlin later stated that "You'll Never Walk Alone" had the same sort of effect on him as the 23rd Psalm. When singer Mel Tormé told Rodgers that "You'll Never Walk Alone" had made him cry, Rodgers nodded impatiently. "You're supposed to." The frequently recorded song has become a widely accepted hymn.Rodgers, p. 240 The cast recording of Carousel proved popular in Liverpool, like many Broadway albums, and in 1963, the Brian Epstein-managed band, Gerry and the Pacemakers had a number-one hit with the song. At the time, the top ten hits were played before Liverpool F.C. home matches; even after "You'll Never Walk Alone" dropped out of the top ten, fans continued to sing it, and it has become closely associated with the soccer team and the city of Liverpool. A BBC program, Soul Music, ranked it alongside "Silent Night" and "Abide With Me" in terms of its emotional impact and iconic status. Recordings The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut—as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.Fick, David. "The Best Carousel Recording", June 11, 2009. Retrieved on April 7, 2016 A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousels songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle. Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. Critical reception and legacy The musical received almost unanimous rave reviews after its opening in 1945. According to Hischak, reviews were not as exuberant as for Oklahoma! as the critics were not taken by surprise this time. John Chapman of the Daily News termed it "one of the finest musical plays I have ever seen and I shall remember it always". The New York Times's reviewer, Lewis Nichols, stated that "Richard Rodgers and Oscar Hammerstein 2d, who can do no wrong, have continued doing no wrong in adapting Liliom into a musical play. Their Carousel is on the whole delightful." Wilella Waldorf of the New York Post, however, complained, "Carousel seemed to us a rather long evening. The Oklahoma! formula is becoming a bit monotonous and so are Miss de Mille's ballets. All right, go ahead and shoot!"Suskin, Steven. Opening Night on Broadway. Schirmer Trade Books, 1990, p. 147. . Dance Magazine gave Linn plaudits for her role as Louise, stating, "Bambi doesn't come on until twenty minutes before eleven, and for the next forty minutes, she practically holds the audience in her hand". Howard Barnes in the New York Herald Tribune also applauded the dancing: "It has waited for Miss de Mille to come through with peculiarly American dance patterns for a musical show to become as much a dance as a song show." When the musical returned to New York in 1949, The New York Times reviewer Brooks Atkinson described Carousel as "a conspicuously superior musical play ... Carousel, which was warmly appreciated when it opened, seems like nothing less than a masterpiece now." In 1954, when Carousel was revived at City Center, Atkinson discussed the musical in his review: Carousel has no comment to make on anything of topical importance. The theme is timeless and universal: the devotion of two people who love each other through thick and thin, complicated in this case by the wayward personality of the man, who cannot fulfill the responsibilities he has assumed.  ... Billy is a bum, but Carousel recognizes the decency of his motives and admires his independence. There are no slick solutions in Carousel. Stephen Sondheim noted the duo's ability to take the innovations of Oklahoma! and apply them to a serious setting: "Oklahoma! is about a picnic, Carousel is about life and death." Critic Eric Bentley, on the other hand, wrote that "the last scene of Carousel is an impertinence: I refuse to be lectured to by a musical comedy scriptwriter on the education of children, the nature of the good life, and the contribution of the American small town to the salvation of souls."New York Times critic Frank Rich said of the 1992 London production: "What is remarkable about Mr. Hytner's direction, aside from its unorthodox faith in the virtues of simplicity and stillness, is its ability to make a 1992 audience believe in Hammerstein's vision of redemption, which has it that a dead sinner can return to Earth to do godly good." The Hytner production in New York was hailed by many critics as a grittier Carousel, which they deemed more appropriate for the 1990s. Clive Barnes of the New York Post called it a "defining Carousel—hard-nosed, imaginative, and exciting." Critic Michael Billington has commented that "lyrically [Carousel] comes perilously close to acceptance of the inevitability of domestic violence." BroadwayWorld.com stated in 2013 that Carousel is now "considered somewhat controversial in terms of its attitudes on domestic violence" because Julie chooses to stay with Billy despite the abuse; actress Kelli O'Hara noted that the domestic violence that Julie "chooses to deal with – is a real, existing and very complicated thing. And exploring it is an important part of healing it." Rodgers considered Carousel his favorite of all his musicals and wrote, "it affects me deeply every time I see it performed". In 1999, Time magazine, in its "Best of the Century" list, named Carousel the Best Musical of the 20th century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical, and this show features their most beautiful score and the most skillful and affecting example of their musical storytelling". Hammerstein's grandson, Oscar Andrew Hammerstein, in his book about his family, suggested that the wartime situation made Carousel's ending especially poignant to its original viewers, "Every American grieved the loss of a brother, son, father, or friend ... the audience empathized with [Billy's] all-too-human efforts to offer advice, to seek forgiveness, to complete an unfinished life, and to bid a proper good-bye from beyond the grave." Author and composer Ethan Mordden agreed with that perspective: If Oklahoma! developed the moral argument for sending American boys overseas, Carousel offered consolation to those wives and mothers whose boys would only return in spirit. The meaning lay not in the tragedy of the present, but in the hope for a future where no one walks alone. Awards and nominations Original 1945 Broadway productionNote: The Tony Awards were not established until 1947, and so Carousel was not eligible to win any Tonys at its premiere. 1957 revival 1992 London revival 1994 Broadway revival 2018 Broadway revival References Bibliography Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. New York: Oxford University Press US, 2004. . Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press US, 2006. . Bradley, Ian. You've Got to Have a Dream: The Message of the Broadway Musical. Louisville, Ky., Westminster John Knox Press, 2005. 978-0-664-22854-5. Easton, Carol. No Intermission: The Life of Agnes DeMille. Jefferson, N.C.: Da Capo Press, 2000 (1st DaCapo Press edition). . Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. . Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. . Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. . Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. . Molnár, Ferenc. Liliom: A Legend in Seven Scenes and a Prologue. New York: Boni and Liveright, 1921. Mordden, Ethan. "Rodgers & Hammerstein". New York: Harry N. Abrams, Inc., 1992. . Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2002. . Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. . Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2001. . External links Carousel at guidetomusicaltheatre.com Carousel info page on StageAgent.com – Carousel plot summary and character descriptions (1967 TV adaptation) 1945 musicals Broadway musicals Musicals by Rodgers and Hammerstein West End musicals Musicals based on plays Grammy Hall of Fame Award recipients Maine in fiction Fiction set in 1873 Fiction about the afterlife Plays set in Maine Plays set in the 19th century Tony Award-winning musicals

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Was it popular?

Was the concert version of Carousel popular?

Carousel (musical)

A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. CANNOTANSWER

Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear."

Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that Carousel was his favorite of all his musicals. Following the spectacular success of the first Rodgers and Hammerstein musical, Oklahoma! (1943), the pair sought to collaborate on another piece, knowing that any resulting work would be compared with Oklahoma!, most likely unfavorably. They were initially reluctant to seek the rights to Liliom; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful. The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. Carousel initially ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as Oklahoma!, the piece has been repeatedly revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in London, in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, Time magazine named Carousel the best musical of the 20th century. Background Liliom Ferenc Molnár's Hungarian-language drama, Liliom, premiered in Budapest in 1909. The audience was puzzled by the work, and it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. Liliom was not presented again until after World War I. When it reappeared on the Budapest stage, it was a tremendous hit. Except for the ending, the plots of Liliom and Carousel are very similar. Andreas Zavocky (nicknamed Liliom, the Hungarian word for "lily", a slang term for "tough guy"), a carnival barker, falls in love with Julie Zeller, a servant girl, and they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, and Liliom stabs himself. He dies, and his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory. On his return to Earth, Liliom encounters his daughter, Louise, who like her mother is now a factory worker. Saying that he knew her father, he tries to give her a star he stole from the heavens. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie confronts him, but finds herself unable to be angry with him. Liliom is ushered off to his fate, presumably Hell, and Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is very possible for that to happen. An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, uncredited, was Rodgers' first major partner Lorenz Hart. The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, and the play was a success, running 300 performances. A 1940 revival with Burgess Meredith and Ingrid Bergman was seen by both Hammerstein and Rodgers. Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell; Liliom crying out to the distant carousel the glad news that he is to be a father; the two thieves gambling for the spoils of their prospective robbery; Marie and Wolf posing for their portrait while the broken-hearted Julie stands looking after the vanishing Liliom, the thieves' song ringing in her ears; the two policemen grousing about pay and pensions while Liliom lies bleeding to death; Liliom furtively proffering his daughter the star he has stolen for her in heaven. ... The temptation to count the whole scintillating string is difficult to resist. Inception In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940). Some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot (in the "Slaughter on Tenth Avenue" scene), while Pal Joey flouted Broadway tradition by presenting a knave as its hero. Hammerstein had written or co-written the words for such hits as Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, "The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good. By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, becoming unreliable and prompting Rodgers to approach Hammerstein to ask if he would consider working with him. Hammerstein was eager to do so, and their first collaboration was Oklahoma! (1943). Thomas Hischak states, in his The Rodgers and Hammerstein Encyclopedia, that Oklahoma! is "the single most influential work in the American musical theatre. In fact, the history of the Broadway musical can accurately be divided into what came before Oklahoma! and what came after it." An innovation for its time in integrating song, character, plot and dance, Oklahoma! would serve, according to Hischak, as "the model for Broadway shows for decades", and proved a huge popular and financial success. Once it was well-launched, what to do as an encore was a daunting challenge for the pair. Film producer Samuel Goldwyn saw Oklahoma! and advised Rodgers to shoot himself, which according to Rodgers "was Sam's blunt but funny way of telling me that I'd never create another show as good as Oklahoma!" As they considered new projects, Hammerstein wrote, "We're such fools. No matter what we do, everyone is bound to say, 'This is not another Oklahoma! " Oklahoma! had been a struggle to finance and produce. Hammerstein and Rodgers met weekly in 1943 with Theresa Helburn and Lawrence Langner of the Theatre Guild, producers of the blockbuster musical, who together formed what they termed "the Gloat Club". At one such luncheon, Helburn and Langner proposed to Rodgers and Hammerstein that they turn Molnár's Liliom into a musical. Both men refused—they had no feeling for the Budapest setting and thought that the unhappy ending was unsuitable for musical theatre. In addition, given the unstable wartime political situation, they might need to change the setting from Hungary while in rehearsal. At the next luncheon, Helburn and Langner again proposed Liliom, suggesting that they move the setting to Louisiana and make Liliom a Creole. Rodgers and Hammerstein played with the idea over the next few weeks, but decided that Creole dialect, filled with "zis" and "zose", would sound corny and would make it difficult to write effective lyrics. A breakthrough came when Rodgers, who owned a house in Connecticut, proposed a New England setting. Hammerstein wrote of this suggestion in 1945, I began to see an attractive ensemble—sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute ... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music. Molnár's opposition to having his works adapted was also an issue; he had famously turned down Giacomo Puccini when the great composer wished to transform Liliom into an opera, stating that he wanted the piece to be remembered as his, not Puccini's. In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from Kurt Weill to adapt the play into a musical. The pair continued to work on the preliminary ideas for a Liliom adaptation while pursuing other projects in late 1943 and early 1944—writing the film musical State Fair and producing I Remember Mama on Broadway. Meanwhile, the Theatre Guild took Molnár to see Oklahoma! Molnár stated that if Rodgers and Hammerstein could adapt Liliom as beautifully as they had modified Green Grow the Lilacs into Oklahoma!, he would be pleased to have them do it. The Guild obtained the rights from Molnár in October 1943. The playwright received one percent of the gross and $2,500 for "personal services". The duo insisted, as part of the contract, that Molnár permit them to make changes in the plot. At first, the playwright refused, but eventually yielded. Hammerstein later stated that if this point had not been won, "we could never have made Carousel." In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in Pal Joey. Rodgers and Hart had overcome the problem with a song that Joey sings to himself, "I'm Talking to My Pal". This inspired "Soliloquy". Both partners later told a story that "Soliloquy" was only intended to be a song about Liliom's dreams of a son, but that Rodgers, who had two daughters, insisted that Liliom consider that Julie might have a girl. However, the notes taken at their meeting of December 7, 1943 state: "Mr. Rodgers suggested a fine musical number for the end of the scene where Liliom discovers he is to be a father, in which he sings first with pride of the growth of a boy, and then suddenly realizes it might be a girl and changes completely." Hammerstein and Rodgers returned to the Liliom project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results. Green Grow the Lilacs had been a little-known work; Liliom was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy. Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in Liliom; they became Enoch Snow and Carrie Pipperidge. "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for Oklahoma! but not used. Molnár's ending was unsuitable, and after a couple of false starts, Hammerstein conceived the graduation scene that ends the musical. According to Frederick Nolan in his book on the team's works: "From that scene the song "You'll Never Walk Alone" sprang almost naturally." In spite of Hammerstein's simple lyrics for "You'll Never Walk Alone", Rodgers had great difficulty in setting it to music. Rodgers explained his rationale for the changed ending, Liliom was a tragedy about a man who cannot learn to live with other people. The way Molnár wrote it, the man ends up hitting his daughter and then having to go back to purgatory, leaving his daughter helpless and hopeless. We couldn't accept that. The way we ended Carousel it may still be a tragedy but it's a hopeful one because in the final scene it is clear that the child has at last learned how to express herself and communicate with others. When the pair decided to make "This Was a Real Nice Clambake" into an ensemble number, Hammerstein realized he had no idea what a clambake was like, and researched the matter. Based on his initial findings, he wrote the line, "First came codfish chowder". However, further research convinced him the proper term was "codhead chowder", a term unfamiliar to many playgoers. He decided to keep it as "codfish". When the song proceeded to discuss the lobsters consumed at the feast, Hammerstein wrote the line "We slit 'em down the back/And peppered 'em good". He was grieved to hear from a friend that lobsters are always slit down the front. The lyricist sent a researcher to a seafood restaurant and heard back that lobsters are always slit down the back. Hammerstein concluded that there is disagreement about which side of a lobster is the back. One error not caught involved the song "June Is Bustin' Out All Over", in which sheep are depicted as seeking to mate in late spring—they actually do so in the winter. Whenever this was brought to Hammerstein's attention, he told his informant that 1873 was a special year, in which sheep mated in the spring. Rodgers early decided to dispense with an overture, feeling that the music was hard to hear over the banging of seats as latecomers settled themselves. In his autobiography, Rodgers complained that only the brass section can be heard during an overture because there are never enough strings in a musical's small orchestra. He determined to force the audience to concentrate from the beginning by opening with a pantomime scene accompanied by what became known as "The Carousel Waltz". The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience. Author Ethan Mordden described the effectiveness of this opening: Other characters catch our notice—Mr. Bascombe, the pompous mill owner, Mrs. Mullin, the widow who runs the carousel and, apparently, Billy; a dancing bear; an acrobat. But what draws us in is the intensity with which Julie regards Billy—the way she stands frozen, staring at him, while everyone else at the fair is swaying to the rhythm of Billy's spiel. And as Julie and Billy ride together on the swirling carousel, and the stage picture surges with the excitement of the crowd, and the orchestra storms to a climax, and the curtain falls, we realize that R & H have not only skipped the overture and the opening number but the exposition as well. They have plunged into the story, right into the middle of it, in the most intense first scene any musical ever had. Casting and out-of-town tryouts The casting for Carousel began when Oklahoma!s production team, including Rodgers and Hammerstein, was seeking a replacement for the part of Curly (the male lead in Oklahoma!). Lawrence Langner had heard, through a relative, of a California singer named John Raitt, who might be suitable for the part. Langner went to hear Raitt, then urged the others to bring Raitt to New York for an audition. Raitt asked to sing "Largo al factotum", Figaro's aria from The Barber of Seville, to warm up. The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed). Theresa Helburn made another California discovery, Jan Clayton, a singer/actress who had made a few minor films for MGM. She was brought east and successfully auditioned for the part of Julie. The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of Pal Joey), had ever played on Broadway before. It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, John Fearnley, that the sole qualification for a dancing boy was that he be alive. Rodgers and Hammerstein reassembled much of the creative team that had made Oklahoma! a success, including director Rouben Mamoulian and choreographer Agnes de Mille. Miles White was the costume designer while Jo Mielziner (who had not worked on Oklahoma!) was the scenic and lighting designer. Even though Oklahoma! orchestrator Russell Bennett had informed Rodgers that he was unavailable to work on Carousel due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by Don Walker. A new member of the creative team was Trude Rittmann, who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s. Rehearsals began in January 1945; either Rodgers or Hammerstein was always present. Raitt was presented with the lyrics for "Soliloquy" on a five-foot long sheet of paper—the piece ran nearly eight minutes. Staging such a long solo number presented problems, and Raitt later stated that he felt that they were never fully addressed. At some point during rehearsals, Molnár came to see what they had done to his play. There are a number of variations on the story.Fordin, pp. 231–32 As Rodgers told it, while watching rehearsals with Hammerstein, the composer spotted Molnár in the rear of the theatre and whispered the news to his partner. Both sweated through an afternoon of rehearsal in which nothing seemed to go right. At the end, the two walked to the back of the theatre, expecting an angry reaction from Molnár. Instead, the playwright said enthusiastically, "What you have done is so beautiful. And you know what I like best? The ending!" Hammerstein wrote that Molnár became a regular attendee at rehearsals after that. Like most of the pair's works, Carousel contains a lengthy ballet, "Billy Makes a Journey", in the second act, as Billy looks down to the Earth from "Up There" and observes his daughter. In the original production the ballet was choreographed by de Mille. It began with Billy looking down from heaven at his wife in labor, with the village women gathered for a "birthing". The ballet involved every character in the play, some of whom spoke lines of dialogue, and contained a number of subplots. The focus was on Louise, played by Bambi Linn, who at first almost soars in her dance, expressing the innocence of childhood. She is teased and mocked by her schoolmates, and Louise becomes attracted to the rough carnival people, who symbolize Billy's world. A youth from the carnival attempts to seduce Louise, as she discovers her own sexuality, but he decides she is more girl than woman, and he leaves her. After Julie comforts her, Louise goes to a children's party, where she is shunned. The carnival people reappear and form a ring around the children's party, with Louise lost between the two groups. At the end, the performers form a huge carousel with their bodies. The play opened for tryouts in New Haven, Connecticut on March 22, 1945. The first act was well-received; the second act was not. Casto recalled that the second act finished about 1:30 a.m. The staff immediately sat down for a two-hour conference. Five scenes, half the ballet, and two songs were cut from the show as the result. John Fearnley commented, "Now I see why these people have hits. I never witnessed anything so brisk and brave in my life." De Mille said of this conference, "not three minutes had been wasted pleading for something cherished. Nor was there any idle joking. ... We cut and cut and cut and then we went to bed." By the time the company left New Haven, de Mille's ballet was down to forty minutes. A major concern with the second act was the effectiveness of the characters He and She (later called by Rodgers "Mr. and Mrs. God"), before whom Billy appeared after his death. Mr. and Mrs. God were depicted as a New England minister and his wife, seen in their parlor.Block (ed.), p. 129. At this time, according to the cast sheet distributed during the Boston run, Dr. Seldon was listed as the "Minister". The couple was still part of the show at the Boston opening. Rodgers said to Hammerstein, "We've got to get God out of that parlor". When Hammerstein inquired where he should put the deity, Rodgers replied, "I don't care where you put Him. Put Him on a ladder for all I care, only get Him out of that parlor!" Hammerstein duly put Mr. God (renamed the Starkeeper) atop a ladder, and Mrs. God was removed from the show. Rodgers biographer Meryle Secrest terms this change a mistake, leading to a more fantastic afterlife, which was later criticized by The New Republic as "a Rotarian atmosphere congenial to audiences who seek not reality but escape from reality, not truth but escape from truth". Hammerstein wrote that Molnár's advice, to combine two scenes into one, was key to pulling together the second act and represented "a more radical departure from the original than any change we had made". A reprise of "If I Loved You" was added in the second act, which Rodgers felt needed more music. Three weeks of tryouts in Boston followed the brief New Haven run, and the audience there gave the musical a warm reception. An even shorter version of the ballet was presented the final two weeks in Boston, but on the final night there, de Mille expanded it back to forty minutes, and it brought the house down, causing both Rodgers and Hammerstein to embrace her. Synopsis Act 1 Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("If I Loved You"). Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news—she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep"). Jigger and his shipmates, joined by Billy, then sing about life on the sea ("Blow High, Blow Low"). The whaler tries to recruit Billy to help with a robbery, but Billy declines, as the victim—Julie's former boss, Mr. Bascombe—might have to be killed. Mrs. Mullin enters and tries to tempt Billy back to the carousel (and to her). He would have to abandon Julie; a married barker cannot evoke the same sexual tension as one who is single. Billy reluctantly mulls it over as Julie arrives and the others leave. She tells him that she is pregnant, and Billy is overwhelmed with happiness, ending all thoughts of returning to the carousel. Once alone, Billy imagines the fun he will have with Bill Jr.—until he realizes that his child might be a girl, and reflects soberly that "you've got to be a father to a girl" ("Soliloquy"). Determined to provide financially for his future child, whatever the means, Billy decides to be Jigger's accomplice. The whole town leaves for the clambake. Billy, who had earlier refused to go, agrees to join in, to Julie's delight, as he realizes that being seen at the clambake is integral to his and Jigger's alibi ("Act I Finale"). Act 2 Everyone reminisces about the huge meal and much fun ("This Was a Real Nice Clambake"). Jigger tries to seduce Carrie; Enoch walks in at the wrong moment, and declares that he is finished with her ("Geraniums In the Winder"), as Jigger jeers ("There's Nothin' So Bad for a Woman"). The girls try to comfort Carrie, but for Julie all that matters is that "he's your feller and you love him" ("What's the Use of Wond'rin'?"). Julie sees Billy trying to sneak away with Jigger and, trying to stop him, feels the knife hidden in his shirt. She begs him to give it to her, but he refuses and leaves to commit the robbery. As they wait, Jigger and Billy gamble with cards. They stake their shares of the anticipated robbery spoils. Billy loses: his participation is now pointless. Unknown to Billy and Jigger, Mr. Bascombe, the intended victim, has already deposited the mill's money. The robbery fails: Bascombe pulls a gun on Billy while Jigger escapes. Billy stabs himself with his knife; Julie arrives just in time for him to say his last words to her and die. Julie strokes his hair, finally able to tell him that she loved him. Carrie and Enoch, reunited by the crisis, attempt to console Julie; Nettie arrives and gives Julie the resolve to keep going despite her despair ("You'll Never Walk Alone"). Billy's defiant spirit ("The Highest Judge of All") is taken Up There to see the Starkeeper, a heavenly official. The Starkeeper tells Billy that the good he did in life was not enough to get into heaven, but so long as there is a person alive who remembers him, he can return for a day to try to do good to redeem himself. He informs Billy that fifteen years have passed on Earth since his suicide, and suggests that Billy can get himself into heaven if he helps his daughter, Louise. He helps Billy look down from heaven to see her (instrumental ballet: "Billy Makes a Journey"). Louise has grown up to be lonely and bitter. The local children ostracize her because her father was a thief and a wife-beater. In the dance, a young ruffian, much like her father at that age, flirts with her and abandons her as too young. The dance concludes, and Billy is anxious to return to Earth and help his daughter. He steals a star to take with him, as the Starkeeper pretends not to notice. Outside Julie's cottage, Carrie describes her visit to New York with the now-wealthy Enoch. Carrie's husband and their many children enter to fetch her—the family must get ready for the high school graduation later that day. Enoch Jr., the oldest son, remains behind to talk with Louise, as Billy and the Heavenly Friend escorting him enter, invisible to the other characters. Louise confides in Enoch Jr. that she plans to run away from home with an acting troupe. He says that he will stop her by marrying her, but that his father will think her an unsuitable match. Louise is outraged: each insults the other's father, and Louise orders Enoch Jr. to go away. Billy, able to make himself visible at will, reveals himself to the sobbing Louise, pretending to be a friend of her father. He offers her a gift—the star he stole from heaven. She refuses it and, frustrated, he slaps her hand. He makes himself invisible, and Louise tells Julie what happened, stating that the slap miraculously felt like a kiss, not a blow—and Julie understands her perfectly. Louise retreats to the house, as Julie notices the star that Billy dropped; she picks it up and seems to feel Billy's presence ("If I Loved You (Reprise)"). Billy invisibly attends Louise's graduation, hoping for one last chance to help his daughter and redeem himself. The beloved town physician, Dr. Seldon (who resembles the Starkeeper) advises the graduating class not to rely on their parents' success or be held back by their failure (words directed at Louise). Seldon prompts everyone to sing an old song, "You'll Never Walk Alone". Billy, still invisible, whispers to Louise, telling her to believe Seldon's words, and when she tentatively reaches out to another girl, she learns she does not have to be an outcast. Billy goes to Julie, telling her at last that he loved her. As his widow and daughter join in the singing, Billy is taken to his heavenly reward. Principal roles and notable performers ° denotes original Broadway cast Musical numbers Act I"List of Songs", Carousel at the IBDB Database. Retrieved July 18, 2012 "The Carousel Waltz" – Orchestra "You're a Queer One, Julie Jordan" – Carrie Pipperidge and Julie Jordan "(When I Marry) Mister Snow" – Carrie "If I Loved You" – Billy Bigelow and Julie "June Is Bustin' Out All Over" – Nettie Fowler and Chorus "(When I Marry) Mister Snow" (reprise) – Carrie, Enoch Snow and Female Chorus "When the Children Are Asleep" – Enoch and Carrie "Blow High, Blow Low" – Jigger Craigin, Billy and Male Chorus "Soliloquy" – BillyAct II "This Was a Real Nice Clambake" – Carrie, Nettie, Julie, Enoch and Chorus "Geraniums in the Winder" – Enoch * "There's Nothin' So Bad for a Woman" – Jigger and Chorus "What's the Use of Wond'rin'?" – Julie "You'll Never Walk Alone" – Nettie "The Highest Judge of All" – Billy Ballet: "Billy Makes a Journey" – Orchestra "If I Loved You" (reprise) – Billy Finale: "You'll Never Walk Alone" (reprise) – Company Productions Early productions The original Broadway production opened at the Majestic Theatre on April 19, 1945. The dress rehearsal the day before had gone badly, and the pair feared the new work would not be well received. One successful last-minute change was to have de Mille choreograph the pantomime. The movement of the carnival crowd in the pantomime had been entrusted to Mamoulian, and his version was not working. Rodgers had injured his back the previous week, and he watched the opening from a stretcher propped in a box behind the curtain. Sedated with morphine, he could see only part of the stage. As he could not hear the audience's applause and laughter, he assumed the show was a failure. It was not until friends congratulated him later that evening that he realized that the curtain had been met by wild applause. Bambi Linn, who played Louise, was so enthusiastically received by the audience during her ballet that she was forced to break character, when she next appeared, and bow. Rodgers' daughter Mary caught sight of her friend, Stephen Sondheim, both teenagers then, across several rows; both had eyes wet with tears. The original production ran for 890 performances, closing on May 24, 1947. The original cast included John Raitt (Billy), Jan Clayton (Julie), Jean Darling (Carrie), Eric Mattson (Enoch Snow), Christine Johnson (Nettie Fowler), Murvyn Vye (Jigger), Bambi Linn (Louise) and Russell Collins (Starkeeper). In December 1945, Clayton left to star in the Broadway revival of Show Boat and was replaced by Iva Withers; Raitt was replaced by Henry Michel in January 1947; Darling was replaced by Margot Moser.Hischak, p. 62 After closing on Broadway, the show went on a national tour for two years. It played for five months in Chicago alone, visited twenty states and two Canadian cities, covered and played to nearly two million people. The touring company had a four-week run at New York City Center in January 1949. Following the City Center run, the show was moved back to the Majestic Theatre in the hopes of filling the theatre until South Pacific opened in early April. However, ticket sales were mediocre, and the show closed almost a month early. The musical premiered in the West End, London, at the Theatre Royal, Drury Lane on June 7, 1950. The production was restaged by Jerome Whyte, with a cast that included Stephen Douglass (Billy), Iva Withers (Julie) and Margot Moser (Carrie). Carousel ran in London for 566 performances, remaining there for over a year and a half. Subsequent productions Carousel was revived in 1954 and 1957 at City Center, presented by the New York City Center Light Opera Company. Both times, the production featured Barbara Cook, though she played Carrie in 1954 and Julie in 1957 (playing alongside Howard Keel as Billy). The production was then taken to Belgium to be performed at the 1958 Brussels World's Fair, with David Atkinson as Billy, Ruth Kobart as Nettie, and Clayton reprising the role of Julie, which she had originated. In August 1965, Rodgers and the Music Theater of Lincoln Center produced Carousel for 47 performances. John Raitt reprised the role of Billy, with Jerry Orbach as Jigger and Reid Shelton as Enoch Snow. The roles of the Starkeeper and Dr. Seldon were played by Edward Everett Horton in his final stage appearance. The following year, New York City Center Light Opera Company brought Carousel back to City Center for 22 performances, with Bruce Yarnell as Billy and Constance Towers as Julie. Nicholas Hytner directed a new production of Carousel in 1992, at London's Royal National Theatre, with choreography by Sir Kenneth MacMillan and designs by Bob Crowley. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival. As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride.Block, p. 175 Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel. Michael Hayden played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode. Hayden, Joanna Riding (Julie) and Janie Dee (Carrie) all won Olivier Awards for their performances. Patricia Routledge played Nettie. Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in The New York Times, looked like "a walking United Colors of Benetton ad". Clive Rowe, as Enoch, was nominated for an Olivier Award. The production's limited run from December 1992 through March 1993 was a sellout. It re-opened at the Shaftesbury Theatre in London in September 1993, presented by Cameron Mackintosh, where it continued until May 1994. The Hytner production moved to New York's Vivian Beaumont Theater, where it opened on March 24, 1994, and ran for 322 performances. This won five Tony Awards, including best musical revival, as well as awards for Hytner, MacMillan, Crowley and Audra McDonald (as Carrie). The cast also included Sally Murphy as Julie, Shirley Verrett as Nettie, Fisher Stevens as Jigger and Eddie Korbich as Enoch. One change made from the London to the New York production was to have Billy strike Louise across the face, rather than on the hand. According to Hayden, "He does the one unpardonable thing, the thing we can't forgive. It's a challenge for the audience to like him after that." The Hytner Carousel was presented in Japan in May 1995. A U.S. national tour with a scaled-down production began in February 1996 in Houston and closed in May 1997 in Providence, Rhode Island. Producers sought to feature young talent on the tour, with Patrick Wilson as Billy and Sarah Uriarte Berry, and later Jennifer Laura Thompson, as Julie. A revival opened at London's Savoy Theatre on December 2, 2008, after a week of previews, starring Jeremiah James (Billy), Alexandra Silber (Julie) and Lesley Garrett (Nettie). The production received warm to mixed reviews. It closed in June 2009, a month early. Michael Coveney, writing in The Independent, admired Rodgers' music but stated, "Lindsay Posner's efficient revival doesn't hold a candle to the National Theatre 1992 version". A production at Theater Basel, Switzerland, in 2016 to 2017, with German dialogue, was directed by Alexander Charim and choreographed by Teresa Rotemberg. Bryony Dwyer, Christian Miedl and Cheryl Studer starred, respectively, as Julie Jordan, Billy Bigelow and Nettie Fowler.<ref>[http://operabase.com/diary.cgi?lang=en&code=wsba&date=20161215 "Richard Rodgers: Carousel"] , Diary: Theater Basel, Operabase.com. Retrieved on March 8, 2018</ref> A semi-staged revival by the English National Opera opened at the London Coliseum in 2017. The production was directed by Lonny Price, conducted by David Charles Abell, and starred Alfie Boe as Billy, Katherine Jenkins as Julie and Nicholas Lyndhurst as the Starkeeper. The production received mixed to positive reviews. The third Broadway revival began previews in February 2018 at the Imperial Theatre and officially opened on April 12. It closed on September 16, 2018. The production starred Jessie Mueller, Joshua Henry, Renée Fleming, Lindsay Mendez and Alexander Gemignani. The production was directed by Jack O'Brien and choreographed by Justin Peck. The songs "Geraniums in the Winder" and "There's Nothin' So Bad for a Woman" were cut from this revival. Ben Brantley wrote in The New York Times, "The tragic inevitability of Carousel has seldom come across as warmly or as chillingly as it does in this vividly reimagined revival. ... [W]ith thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show's center has never seemed quite as ill-starred or, at the same time, as sexy. ... [T]he Starkeeper ... assumes new visibility throughout, taking on the role of Billy's angelic supervisor." Brantley strongly praised the choreography, all the performances and the designers. He was unconvinced, however, by the "mother-daughter dialogue that falls so abrasively on contemporary ears", where Julie tries to justify loving an abusive man, and other scenes in Act 2, particularly those set in heaven, and the optimism of the final scene. Most of the reviewers agreed that while the choreography and performances (especially the singing) were excellent, characterizing the production as sexy and sumptuous, O'Brien's direction did little to help the show deal with modern sensibilities about men's treatment of women, instead indulging in nostalgia. From July to September 2021 the Regent's Park Open Air Theatre in London is presenting a staging by its artistic director Timothy Sheader, with choreography by Drew McOnie. The cast includes Carly Bawden as Julie, Declan Bennett as Billy and Joanna Riding as Nettie. Film, television and concert versions [[File:Boothbay Harbor in Summer.jpg|thumb|upright=1.2|Boothbay Harbor, Maine, where the location shots for Carousels movie version were filmed]] A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma! It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando and conducted by Rob Fisher. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. Music and recordings Musical treatment Rodgers designed Carousel to be an almost continuous stream of music, especially in Act 1. In later years, Rodgers was asked if he had considered writing an opera. He stated that he had been sorely tempted to, but saw Carousel in operatic terms. He remembered, "We came very close to opera in the Majestic Theatre. ... There's much that is operatic in the music." Rodgers uses music in Carousel in subtle ways to differentiate characters and tell the audience of their emotional state. In "You're a Queer One, Julie Jordan", the music for the placid Carrie is characterized by even eighth-note rhythms, whereas the emotionally restless Julie's music is marked by dotted eighths and sixteenths; this rhythm will characterize her throughout the show. When Billy whistles a snatch of the song, he selects Julie's dotted notes rather than Carrie's. Reflecting the close association in the music between Julie and the as-yet unborn Louise, when Billy sings in "Soliloquy" of his daughter, who "gets hungry every night", he uses Julie's dotted rhythms. Such rhythms also characterize Julie's Act 2 song, "What's the Use of Wond'rin'". The stable love between Enoch and Carrie is strengthened by her willingness to let Enoch not only plan his entire life, but hers as well. This is reflected in "When the Children Are Asleep", where the two sing in close harmony, but Enoch musically interrupts his intended's turn at the chorus with the words "Dreams that won't be interrupted". Rodgers biographer Geoffrey Block, in his book on the Broadway musical, points out that though Billy may strike his wife, he allows her musical themes to become a part of him and never interrupts her music. Block suggests that, as reprehensible as Billy may be for his actions, Enoch requiring Carrie to act as "the little woman", and his having nine children with her (more than she had found acceptable in "When the Children are Asleep") can be considered to be even more abusive. The twelve-minute "bench scene", in which Billy and Julie get to know each other and which culminates with "If I Loved You", according to Hischak, "is considered the most completely integrated piece of music-drama in the American musical theatre". The scene is almost entirely drawn from Molnár and is one extended musical piece; Stephen Sondheim described it as "probably the single most important moment in the revolution of contemporary musicals". "If I Loved You" has been recorded many times, by such diverse artists as Frank Sinatra, Barbra Streisand, Sammy Davis Jr., Mario Lanza and Chad and Jeremy. The D-flat major theme that dominates the music for the second act ballet seems like a new melody to many audience members. It is, however, a greatly expanded development of a theme heard during "Soliloquy" at the line "I guess he'll call me 'The old man' ". When the pair discussed the song that would become "Soliloquy", Rodgers improvised at the piano to give Hammerstein an idea of how he envisioned the song. When Hammerstein presented his collaborator with the lyrics after two weeks of work (Hammerstein always wrote the words first, then Rodgers would write the melodies), Rodgers wrote the music for the eight-minute song in two hours. "What's the Use of Wond'rin' ", one of Julie's songs, worked well in the show but was never as popular on the radio or for recording, and Hammerstein believed that the lack of popularity was because he had concluded the final line, "And all the rest is talk" with a hard consonant, which does not allow the singer a vocal climax. Irving Berlin later stated that "You'll Never Walk Alone" had the same sort of effect on him as the 23rd Psalm. When singer Mel Tormé told Rodgers that "You'll Never Walk Alone" had made him cry, Rodgers nodded impatiently. "You're supposed to." The frequently recorded song has become a widely accepted hymn.Rodgers, p. 240 The cast recording of Carousel proved popular in Liverpool, like many Broadway albums, and in 1963, the Brian Epstein-managed band, Gerry and the Pacemakers had a number-one hit with the song. At the time, the top ten hits were played before Liverpool F.C. home matches; even after "You'll Never Walk Alone" dropped out of the top ten, fans continued to sing it, and it has become closely associated with the soccer team and the city of Liverpool. A BBC program, Soul Music, ranked it alongside "Silent Night" and "Abide With Me" in terms of its emotional impact and iconic status. Recordings The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut—as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.Fick, David. "The Best Carousel Recording", June 11, 2009. Retrieved on April 7, 2016 A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousels songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle. Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. Critical reception and legacy The musical received almost unanimous rave reviews after its opening in 1945. According to Hischak, reviews were not as exuberant as for Oklahoma! as the critics were not taken by surprise this time. John Chapman of the Daily News termed it "one of the finest musical plays I have ever seen and I shall remember it always". The New York Times's reviewer, Lewis Nichols, stated that "Richard Rodgers and Oscar Hammerstein 2d, who can do no wrong, have continued doing no wrong in adapting Liliom into a musical play. Their Carousel is on the whole delightful." Wilella Waldorf of the New York Post, however, complained, "Carousel seemed to us a rather long evening. The Oklahoma! formula is becoming a bit monotonous and so are Miss de Mille's ballets. All right, go ahead and shoot!"Suskin, Steven. Opening Night on Broadway. Schirmer Trade Books, 1990, p. 147. . Dance Magazine gave Linn plaudits for her role as Louise, stating, "Bambi doesn't come on until twenty minutes before eleven, and for the next forty minutes, she practically holds the audience in her hand". Howard Barnes in the New York Herald Tribune also applauded the dancing: "It has waited for Miss de Mille to come through with peculiarly American dance patterns for a musical show to become as much a dance as a song show." When the musical returned to New York in 1949, The New York Times reviewer Brooks Atkinson described Carousel as "a conspicuously superior musical play ... Carousel, which was warmly appreciated when it opened, seems like nothing less than a masterpiece now." In 1954, when Carousel was revived at City Center, Atkinson discussed the musical in his review: Carousel has no comment to make on anything of topical importance. The theme is timeless and universal: the devotion of two people who love each other through thick and thin, complicated in this case by the wayward personality of the man, who cannot fulfill the responsibilities he has assumed.  ... Billy is a bum, but Carousel recognizes the decency of his motives and admires his independence. There are no slick solutions in Carousel. Stephen Sondheim noted the duo's ability to take the innovations of Oklahoma! and apply them to a serious setting: "Oklahoma! is about a picnic, Carousel is about life and death." Critic Eric Bentley, on the other hand, wrote that "the last scene of Carousel is an impertinence: I refuse to be lectured to by a musical comedy scriptwriter on the education of children, the nature of the good life, and the contribution of the American small town to the salvation of souls."New York Times critic Frank Rich said of the 1992 London production: "What is remarkable about Mr. Hytner's direction, aside from its unorthodox faith in the virtues of simplicity and stillness, is its ability to make a 1992 audience believe in Hammerstein's vision of redemption, which has it that a dead sinner can return to Earth to do godly good." The Hytner production in New York was hailed by many critics as a grittier Carousel, which they deemed more appropriate for the 1990s. Clive Barnes of the New York Post called it a "defining Carousel—hard-nosed, imaginative, and exciting." Critic Michael Billington has commented that "lyrically [Carousel] comes perilously close to acceptance of the inevitability of domestic violence." BroadwayWorld.com stated in 2013 that Carousel is now "considered somewhat controversial in terms of its attitudes on domestic violence" because Julie chooses to stay with Billy despite the abuse; actress Kelli O'Hara noted that the domestic violence that Julie "chooses to deal with – is a real, existing and very complicated thing. And exploring it is an important part of healing it." Rodgers considered Carousel his favorite of all his musicals and wrote, "it affects me deeply every time I see it performed". In 1999, Time magazine, in its "Best of the Century" list, named Carousel the Best Musical of the 20th century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical, and this show features their most beautiful score and the most skillful and affecting example of their musical storytelling". Hammerstein's grandson, Oscar Andrew Hammerstein, in his book about his family, suggested that the wartime situation made Carousel's ending especially poignant to its original viewers, "Every American grieved the loss of a brother, son, father, or friend ... the audience empathized with [Billy's] all-too-human efforts to offer advice, to seek forgiveness, to complete an unfinished life, and to bid a proper good-bye from beyond the grave." Author and composer Ethan Mordden agreed with that perspective: If Oklahoma! developed the moral argument for sending American boys overseas, Carousel offered consolation to those wives and mothers whose boys would only return in spirit. The meaning lay not in the tragedy of the present, but in the hope for a future where no one walks alone. Awards and nominations Original 1945 Broadway productionNote: The Tony Awards were not established until 1947, and so Carousel was not eligible to win any Tonys at its premiere. 1957 revival 1992 London revival 1994 Broadway revival 2018 Broadway revival References Bibliography Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. New York: Oxford University Press US, 2004. . Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press US, 2006. . Bradley, Ian. You've Got to Have a Dream: The Message of the Broadway Musical. Louisville, Ky., Westminster John Knox Press, 2005. 978-0-664-22854-5. Easton, Carol. No Intermission: The Life of Agnes DeMille. Jefferson, N.C.: Da Capo Press, 2000 (1st DaCapo Press edition). . Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. . Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. . Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. . Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. . Molnár, Ferenc. Liliom: A Legend in Seven Scenes and a Prologue. New York: Boni and Liveright, 1921. Mordden, Ethan. "Rodgers & Hammerstein". New York: Harry N. Abrams, Inc., 1992. . Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2002. . Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. . Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2001. . External links Carousel at guidetomusicaltheatre.com Carousel info page on StageAgent.com – Carousel plot summary and character descriptions (1967 TV adaptation) 1945 musicals Broadway musicals Musicals by Rodgers and Hammerstein West End musicals Musicals based on plays Grammy Hall of Fame Award recipients Maine in fiction Fiction set in 1873 Fiction about the afterlife Plays set in Maine Plays set in the 19th century Tony Award-winning musicals

C_8decf249a7ee4c6bb84aa0f61f4f4d6c_1

What else was said about it?

Aside from it being gorgeously sung, what else was said about the 1945 concert version of Carousel?

Carousel (musical)

A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma!. It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. CANNOTANSWER

It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013.

Carousel is the second musical by the team of Richard Rodgers (music) and Oscar Hammerstein II (book and lyrics). The 1945 work was adapted from Ferenc Molnár's 1909 play Liliom, transplanting its Budapest setting to the Maine coastline. The story revolves around carousel barker Billy Bigelow, whose romance with millworker Julie Jordan comes at the price of both their jobs. He participates in a robbery to provide for Julie and their unborn child; after it goes tragically wrong, he is given a chance to make things right. A secondary plot line deals with millworker Carrie Pipperidge and her romance with ambitious fisherman Enoch Snow. The show includes the well-known songs "If I Loved You", "June Is Bustin' Out All Over" and "You'll Never Walk Alone". Richard Rodgers later wrote that Carousel was his favorite of all his musicals. Following the spectacular success of the first Rodgers and Hammerstein musical, Oklahoma! (1943), the pair sought to collaborate on another piece, knowing that any resulting work would be compared with Oklahoma!, most likely unfavorably. They were initially reluctant to seek the rights to Liliom; Molnár had refused permission for the work to be adapted in the past, and the original ending was considered too depressing for the musical theatre. After acquiring the rights, the team created a work with lengthy sequences of music and made the ending more hopeful. The musical required considerable modification during out-of-town tryouts, but once it opened on Broadway on April 19, 1945, it was an immediate hit with both critics and audiences. Carousel initially ran for 890 performances and duplicated its success in the West End in 1950. Though it has never achieved as much commercial success as Oklahoma!, the piece has been repeatedly revived, recorded several times and was filmed in 1956. A production by Nicholas Hytner enjoyed success in 1992 in London, in 1994 in New York and on tour. Another Broadway revival opened in 2018. In 1999, Time magazine named Carousel the best musical of the 20th century. Background Liliom Ferenc Molnár's Hungarian-language drama, Liliom, premiered in Budapest in 1909. The audience was puzzled by the work, and it lasted only thirty-odd performances before being withdrawn, the first shadow on Molnár's successful career as a playwright. Liliom was not presented again until after World War I. When it reappeared on the Budapest stage, it was a tremendous hit. Except for the ending, the plots of Liliom and Carousel are very similar. Andreas Zavocky (nicknamed Liliom, the Hungarian word for "lily", a slang term for "tough guy"), a carnival barker, falls in love with Julie Zeller, a servant girl, and they begin living together. With both discharged from their jobs, Liliom is discontented and contemplates leaving Julie, but decides not to do so on learning that she is pregnant. A subplot involves Julie's friend Marie, who has fallen in love with Wolf Biefeld, a hotel porter—after the two marry, he becomes the owner of the hotel. Desperate to make money so that he, Julie and their child can escape to America and a better life, Liliom conspires with lowlife Ficsur to commit a robbery, but it goes badly, and Liliom stabs himself. He dies, and his spirit is taken to heaven's police court. As Ficsur suggested while the two waited to commit the crime, would-be robbers like them do not come before God Himself. Liliom is told by the magistrate that he may go back to Earth for one day to attempt to redeem the wrongs he has done to his family, but must first spend sixteen years in a fiery purgatory. On his return to Earth, Liliom encounters his daughter, Louise, who like her mother is now a factory worker. Saying that he knew her father, he tries to give her a star he stole from the heavens. When Louise refuses to take it, he strikes her. Not realizing who he is, Julie confronts him, but finds herself unable to be angry with him. Liliom is ushered off to his fate, presumably Hell, and Louise asks her mother if it is possible to feel a hard slap as if it was a kiss. Julie reminiscently tells her daughter that it is very possible for that to happen. An English translation of Liliom was credited to Benjamin "Barney" Glazer, though there is a story that the actual translator, uncredited, was Rodgers' first major partner Lorenz Hart. The Theatre Guild presented it in New York City in 1921, with Joseph Schildkraut as Liliom, and the play was a success, running 300 performances. A 1940 revival with Burgess Meredith and Ingrid Bergman was seen by both Hammerstein and Rodgers. Glazer, in introducing the English translation of Liliom, wrote of the play's appeal: And where in modern dramatic literature can such pearls be matched—Julie incoherently confessing to her dead lover the love she had always been ashamed to tell; Liliom crying out to the distant carousel the glad news that he is to be a father; the two thieves gambling for the spoils of their prospective robbery; Marie and Wolf posing for their portrait while the broken-hearted Julie stands looking after the vanishing Liliom, the thieves' song ringing in her ears; the two policemen grousing about pay and pensions while Liliom lies bleeding to death; Liliom furtively proffering his daughter the star he has stolen for her in heaven. ... The temptation to count the whole scintillating string is difficult to resist. Inception In the 1920s and 1930s, Rodgers and Hammerstein both became well known for creating Broadway hits with other partners. Rodgers, with Lorenz Hart, had produced a string of over two dozen musicals, including such popular successes as Babes in Arms (1937), The Boys from Syracuse (1938) and Pal Joey (1940). Some of Rodgers' work with Hart broke new ground in musical theatre: On Your Toes was the first use of ballet to sustain the plot (in the "Slaughter on Tenth Avenue" scene), while Pal Joey flouted Broadway tradition by presenting a knave as its hero. Hammerstein had written or co-written the words for such hits as Rose-Marie (1924), The Desert Song (1926), The New Moon (1927) and Show Boat (1927). Though less productive in the 1930s, he wrote material for musicals and films, sharing an Oscar for his song with Jerome Kern, "The Last Time I Saw Paris", which was included in the 1941 film Lady Be Good. By the early 1940s, Hart had sunk into alcoholism and emotional turmoil, becoming unreliable and prompting Rodgers to approach Hammerstein to ask if he would consider working with him. Hammerstein was eager to do so, and their first collaboration was Oklahoma! (1943). Thomas Hischak states, in his The Rodgers and Hammerstein Encyclopedia, that Oklahoma! is "the single most influential work in the American musical theatre. In fact, the history of the Broadway musical can accurately be divided into what came before Oklahoma! and what came after it." An innovation for its time in integrating song, character, plot and dance, Oklahoma! would serve, according to Hischak, as "the model for Broadway shows for decades", and proved a huge popular and financial success. Once it was well-launched, what to do as an encore was a daunting challenge for the pair. Film producer Samuel Goldwyn saw Oklahoma! and advised Rodgers to shoot himself, which according to Rodgers "was Sam's blunt but funny way of telling me that I'd never create another show as good as Oklahoma!" As they considered new projects, Hammerstein wrote, "We're such fools. No matter what we do, everyone is bound to say, 'This is not another Oklahoma! " Oklahoma! had been a struggle to finance and produce. Hammerstein and Rodgers met weekly in 1943 with Theresa Helburn and Lawrence Langner of the Theatre Guild, producers of the blockbuster musical, who together formed what they termed "the Gloat Club". At one such luncheon, Helburn and Langner proposed to Rodgers and Hammerstein that they turn Molnár's Liliom into a musical. Both men refused—they had no feeling for the Budapest setting and thought that the unhappy ending was unsuitable for musical theatre. In addition, given the unstable wartime political situation, they might need to change the setting from Hungary while in rehearsal. At the next luncheon, Helburn and Langner again proposed Liliom, suggesting that they move the setting to Louisiana and make Liliom a Creole. Rodgers and Hammerstein played with the idea over the next few weeks, but decided that Creole dialect, filled with "zis" and "zose", would sound corny and would make it difficult to write effective lyrics. A breakthrough came when Rodgers, who owned a house in Connecticut, proposed a New England setting. Hammerstein wrote of this suggestion in 1945, I began to see an attractive ensemble—sailors, whalers, girls who worked in the mills up the river, clambakes on near-by islands, an amusement park on the seaboard, things people could do in crowds, people who were strong and alive and lusty, people who had always been depicted on the stage as thin-lipped puritans—a libel I was anxious to refute ... as for the two leading characters, Julie with her courage and inner strength and outward simplicity seemed more indigenous to Maine than to Budapest. Liliom is, of course, an international character, indigenous to nowhere. Rodgers and Hammerstein were also concerned about what they termed "the tunnel" of Molnár's second act—a series of gloomy scenes leading up to Liliom's suicide—followed by a dark ending. They also felt it would be difficult to set Liliom's motivation for the robbery to music. Molnár's opposition to having his works adapted was also an issue; he had famously turned down Giacomo Puccini when the great composer wished to transform Liliom into an opera, stating that he wanted the piece to be remembered as his, not Puccini's. In 1937, Molnár, who had recently emigrated to the United States, had declined another offer from Kurt Weill to adapt the play into a musical. The pair continued to work on the preliminary ideas for a Liliom adaptation while pursuing other projects in late 1943 and early 1944—writing the film musical State Fair and producing I Remember Mama on Broadway. Meanwhile, the Theatre Guild took Molnár to see Oklahoma! Molnár stated that if Rodgers and Hammerstein could adapt Liliom as beautifully as they had modified Green Grow the Lilacs into Oklahoma!, he would be pleased to have them do it. The Guild obtained the rights from Molnár in October 1943. The playwright received one percent of the gross and $2,500 for "personal services". The duo insisted, as part of the contract, that Molnár permit them to make changes in the plot. At first, the playwright refused, but eventually yielded. Hammerstein later stated that if this point had not been won, "we could never have made Carousel." In seeking to establish through song Liliom's motivation for the robbery, Rodgers remembered that he and Hart had a similar problem in Pal Joey. Rodgers and Hart had overcome the problem with a song that Joey sings to himself, "I'm Talking to My Pal". This inspired "Soliloquy". Both partners later told a story that "Soliloquy" was only intended to be a song about Liliom's dreams of a son, but that Rodgers, who had two daughters, insisted that Liliom consider that Julie might have a girl. However, the notes taken at their meeting of December 7, 1943 state: "Mr. Rodgers suggested a fine musical number for the end of the scene where Liliom discovers he is to be a father, in which he sings first with pride of the growth of a boy, and then suddenly realizes it might be a girl and changes completely." Hammerstein and Rodgers returned to the Liliom project in mid-1944. Hammerstein was uneasy as he worked, fearing that no matter what they did, Molnár would disapprove of the results. Green Grow the Lilacs had been a little-known work; Liliom was a theatrical standard. Molnár's text also contained considerable commentary on the Hungarian politics of 1909 and the rigidity of that society. A dismissed carnival barker who hits his wife, attempts a robbery and commits suicide seemed an unlikely central character for a musical comedy. Hammerstein decided to use the words and story to make the audience sympathize with the lovers. He also built up the secondary couple, who are incidental to the plot in Liliom; they became Enoch Snow and Carrie Pipperidge. "This Was a Real Nice Clambake" was repurposed from a song, "A Real Nice Hayride", written for Oklahoma! but not used. Molnár's ending was unsuitable, and after a couple of false starts, Hammerstein conceived the graduation scene that ends the musical. According to Frederick Nolan in his book on the team's works: "From that scene the song "You'll Never Walk Alone" sprang almost naturally." In spite of Hammerstein's simple lyrics for "You'll Never Walk Alone", Rodgers had great difficulty in setting it to music. Rodgers explained his rationale for the changed ending, Liliom was a tragedy about a man who cannot learn to live with other people. The way Molnár wrote it, the man ends up hitting his daughter and then having to go back to purgatory, leaving his daughter helpless and hopeless. We couldn't accept that. The way we ended Carousel it may still be a tragedy but it's a hopeful one because in the final scene it is clear that the child has at last learned how to express herself and communicate with others. When the pair decided to make "This Was a Real Nice Clambake" into an ensemble number, Hammerstein realized he had no idea what a clambake was like, and researched the matter. Based on his initial findings, he wrote the line, "First came codfish chowder". However, further research convinced him the proper term was "codhead chowder", a term unfamiliar to many playgoers. He decided to keep it as "codfish". When the song proceeded to discuss the lobsters consumed at the feast, Hammerstein wrote the line "We slit 'em down the back/And peppered 'em good". He was grieved to hear from a friend that lobsters are always slit down the front. The lyricist sent a researcher to a seafood restaurant and heard back that lobsters are always slit down the back. Hammerstein concluded that there is disagreement about which side of a lobster is the back. One error not caught involved the song "June Is Bustin' Out All Over", in which sheep are depicted as seeking to mate in late spring—they actually do so in the winter. Whenever this was brought to Hammerstein's attention, he told his informant that 1873 was a special year, in which sheep mated in the spring. Rodgers early decided to dispense with an overture, feeling that the music was hard to hear over the banging of seats as latecomers settled themselves. In his autobiography, Rodgers complained that only the brass section can be heard during an overture because there are never enough strings in a musical's small orchestra. He determined to force the audience to concentrate from the beginning by opening with a pantomime scene accompanied by what became known as "The Carousel Waltz". The pantomime paralleled one in the Molnár play, which was also used to introduce the characters and situation to the audience. Author Ethan Mordden described the effectiveness of this opening: Other characters catch our notice—Mr. Bascombe, the pompous mill owner, Mrs. Mullin, the widow who runs the carousel and, apparently, Billy; a dancing bear; an acrobat. But what draws us in is the intensity with which Julie regards Billy—the way she stands frozen, staring at him, while everyone else at the fair is swaying to the rhythm of Billy's spiel. And as Julie and Billy ride together on the swirling carousel, and the stage picture surges with the excitement of the crowd, and the orchestra storms to a climax, and the curtain falls, we realize that R & H have not only skipped the overture and the opening number but the exposition as well. They have plunged into the story, right into the middle of it, in the most intense first scene any musical ever had. Casting and out-of-town tryouts The casting for Carousel began when Oklahoma!s production team, including Rodgers and Hammerstein, was seeking a replacement for the part of Curly (the male lead in Oklahoma!). Lawrence Langner had heard, through a relative, of a California singer named John Raitt, who might be suitable for the part. Langner went to hear Raitt, then urged the others to bring Raitt to New York for an audition. Raitt asked to sing "Largo al factotum", Figaro's aria from The Barber of Seville, to warm up. The warmup was sufficient to convince the producers that not only had they found a Curly, they had found a Liliom (or Billy Bigelow, as the part was renamed). Theresa Helburn made another California discovery, Jan Clayton, a singer/actress who had made a few minor films for MGM. She was brought east and successfully auditioned for the part of Julie. The producers sought to cast unknowns. Though many had played in previous Hammerstein or Rodgers works, only one, Jean Casto (cast as carousel owner Mrs. Mullin, and a veteran of Pal Joey), had ever played on Broadway before. It proved harder to cast the ensemble than the leads, due to the war—Rodgers told his casting director, John Fearnley, that the sole qualification for a dancing boy was that he be alive. Rodgers and Hammerstein reassembled much of the creative team that had made Oklahoma! a success, including director Rouben Mamoulian and choreographer Agnes de Mille. Miles White was the costume designer while Jo Mielziner (who had not worked on Oklahoma!) was the scenic and lighting designer. Even though Oklahoma! orchestrator Russell Bennett had informed Rodgers that he was unavailable to work on Carousel due to a radio contract, Rodgers insisted he do the work in his spare time. He orchestrated "The Carousel Waltz" and "(When I Marry) Mister Snow" before finally being replaced by Don Walker. A new member of the creative team was Trude Rittmann, who arranged the dance music. Rittmann initially felt that Rodgers mistrusted her because she was a woman, and found him difficult to work with, but the two worked together on Rodgers' shows until the 1970s. Rehearsals began in January 1945; either Rodgers or Hammerstein was always present. Raitt was presented with the lyrics for "Soliloquy" on a five-foot long sheet of paper—the piece ran nearly eight minutes. Staging such a long solo number presented problems, and Raitt later stated that he felt that they were never fully addressed. At some point during rehearsals, Molnár came to see what they had done to his play. There are a number of variations on the story.Fordin, pp. 231–32 As Rodgers told it, while watching rehearsals with Hammerstein, the composer spotted Molnár in the rear of the theatre and whispered the news to his partner. Both sweated through an afternoon of rehearsal in which nothing seemed to go right. At the end, the two walked to the back of the theatre, expecting an angry reaction from Molnár. Instead, the playwright said enthusiastically, "What you have done is so beautiful. And you know what I like best? The ending!" Hammerstein wrote that Molnár became a regular attendee at rehearsals after that. Like most of the pair's works, Carousel contains a lengthy ballet, "Billy Makes a Journey", in the second act, as Billy looks down to the Earth from "Up There" and observes his daughter. In the original production the ballet was choreographed by de Mille. It began with Billy looking down from heaven at his wife in labor, with the village women gathered for a "birthing". The ballet involved every character in the play, some of whom spoke lines of dialogue, and contained a number of subplots. The focus was on Louise, played by Bambi Linn, who at first almost soars in her dance, expressing the innocence of childhood. She is teased and mocked by her schoolmates, and Louise becomes attracted to the rough carnival people, who symbolize Billy's world. A youth from the carnival attempts to seduce Louise, as she discovers her own sexuality, but he decides she is more girl than woman, and he leaves her. After Julie comforts her, Louise goes to a children's party, where she is shunned. The carnival people reappear and form a ring around the children's party, with Louise lost between the two groups. At the end, the performers form a huge carousel with their bodies. The play opened for tryouts in New Haven, Connecticut on March 22, 1945. The first act was well-received; the second act was not. Casto recalled that the second act finished about 1:30 a.m. The staff immediately sat down for a two-hour conference. Five scenes, half the ballet, and two songs were cut from the show as the result. John Fearnley commented, "Now I see why these people have hits. I never witnessed anything so brisk and brave in my life." De Mille said of this conference, "not three minutes had been wasted pleading for something cherished. Nor was there any idle joking. ... We cut and cut and cut and then we went to bed." By the time the company left New Haven, de Mille's ballet was down to forty minutes. A major concern with the second act was the effectiveness of the characters He and She (later called by Rodgers "Mr. and Mrs. God"), before whom Billy appeared after his death. Mr. and Mrs. God were depicted as a New England minister and his wife, seen in their parlor.Block (ed.), p. 129. At this time, according to the cast sheet distributed during the Boston run, Dr. Seldon was listed as the "Minister". The couple was still part of the show at the Boston opening. Rodgers said to Hammerstein, "We've got to get God out of that parlor". When Hammerstein inquired where he should put the deity, Rodgers replied, "I don't care where you put Him. Put Him on a ladder for all I care, only get Him out of that parlor!" Hammerstein duly put Mr. God (renamed the Starkeeper) atop a ladder, and Mrs. God was removed from the show. Rodgers biographer Meryle Secrest terms this change a mistake, leading to a more fantastic afterlife, which was later criticized by The New Republic as "a Rotarian atmosphere congenial to audiences who seek not reality but escape from reality, not truth but escape from truth". Hammerstein wrote that Molnár's advice, to combine two scenes into one, was key to pulling together the second act and represented "a more radical departure from the original than any change we had made". A reprise of "If I Loved You" was added in the second act, which Rodgers felt needed more music. Three weeks of tryouts in Boston followed the brief New Haven run, and the audience there gave the musical a warm reception. An even shorter version of the ballet was presented the final two weeks in Boston, but on the final night there, de Mille expanded it back to forty minutes, and it brought the house down, causing both Rodgers and Hammerstein to embrace her. Synopsis Act 1 Two young female millworkers in 1873 Maine visit the town's carousel after work. One of them, Julie Jordan, attracts the attention of the barker, Billy Bigelow ("The Carousel Waltz"). When Julie lets Billy put his arm around her during the ride, Mrs. Mullin, the widowed owner of the carousel, tells Julie never to return. Julie and her friend, Carrie Pipperidge, argue with Mrs. Mullin. Billy arrives and, seeing that Mrs. Mullin is jealous, mocks her; he is fired from his job. Billy, unconcerned, invites Julie to join him for a drink. As he goes to get his belongings, Carrie presses Julie about her feelings toward him, but Julie is evasive ("You're a Queer One, Julie Jordan"). Carrie has a beau too, fisherman Enoch Snow ("(When I Marry) Mister Snow"), to whom she is newly engaged. Billy returns for Julie as the departing Carrie warns that staying out late means the loss of Julie's job. Mr. Bascombe, owner of the mill, happens by along with a policeman, and offers to escort Julie to her home, but she refuses and is fired. Left alone, she and Billy talk about what life might be like if they were in love, but neither quite confesses to the growing attraction they feel for each other ("If I Loved You"). Over a month passes, and preparations for the summer clambake are under way ("June Is Bustin' Out All Over"). Julie and Billy, now married, live at Julie's cousin Nettie's spa. Julie confides in Carrie that Billy, frustrated over being unemployed, hit her. Carrie has happier news—she is engaged to Enoch, who enters as she discusses him ("(When I Marry) Mister Snow (reprise))". Billy arrives with his ne'er-do-well whaler friend, Jigger. The former barker is openly rude to Enoch and Julie, then leaves with Jigger, followed by a distraught Julie. Enoch tells Carrie that he expects to become rich selling herring and to have a large family, larger perhaps than Carrie is comfortable having ("When the Children Are Asleep"). Jigger and his shipmates, joined by Billy, then sing about life on the sea ("Blow High, Blow Low"). The whaler tries to recruit Billy to help with a robbery, but Billy declines, as the victim—Julie's former boss, Mr. Bascombe—might have to be killed. Mrs. Mullin enters and tries to tempt Billy back to the carousel (and to her). He would have to abandon Julie; a married barker cannot evoke the same sexual tension as one who is single. Billy reluctantly mulls it over as Julie arrives and the others leave. She tells him that she is pregnant, and Billy is overwhelmed with happiness, ending all thoughts of returning to the carousel. Once alone, Billy imagines the fun he will have with Bill Jr.—until he realizes that his child might be a girl, and reflects soberly that "you've got to be a father to a girl" ("Soliloquy"). Determined to provide financially for his future child, whatever the means, Billy decides to be Jigger's accomplice. The whole town leaves for the clambake. Billy, who had earlier refused to go, agrees to join in, to Julie's delight, as he realizes that being seen at the clambake is integral to his and Jigger's alibi ("Act I Finale"). Act 2 Everyone reminisces about the huge meal and much fun ("This Was a Real Nice Clambake"). Jigger tries to seduce Carrie; Enoch walks in at the wrong moment, and declares that he is finished with her ("Geraniums In the Winder"), as Jigger jeers ("There's Nothin' So Bad for a Woman"). The girls try to comfort Carrie, but for Julie all that matters is that "he's your feller and you love him" ("What's the Use of Wond'rin'?"). Julie sees Billy trying to sneak away with Jigger and, trying to stop him, feels the knife hidden in his shirt. She begs him to give it to her, but he refuses and leaves to commit the robbery. As they wait, Jigger and Billy gamble with cards. They stake their shares of the anticipated robbery spoils. Billy loses: his participation is now pointless. Unknown to Billy and Jigger, Mr. Bascombe, the intended victim, has already deposited the mill's money. The robbery fails: Bascombe pulls a gun on Billy while Jigger escapes. Billy stabs himself with his knife; Julie arrives just in time for him to say his last words to her and die. Julie strokes his hair, finally able to tell him that she loved him. Carrie and Enoch, reunited by the crisis, attempt to console Julie; Nettie arrives and gives Julie the resolve to keep going despite her despair ("You'll Never Walk Alone"). Billy's defiant spirit ("The Highest Judge of All") is taken Up There to see the Starkeeper, a heavenly official. The Starkeeper tells Billy that the good he did in life was not enough to get into heaven, but so long as there is a person alive who remembers him, he can return for a day to try to do good to redeem himself. He informs Billy that fifteen years have passed on Earth since his suicide, and suggests that Billy can get himself into heaven if he helps his daughter, Louise. He helps Billy look down from heaven to see her (instrumental ballet: "Billy Makes a Journey"). Louise has grown up to be lonely and bitter. The local children ostracize her because her father was a thief and a wife-beater. In the dance, a young ruffian, much like her father at that age, flirts with her and abandons her as too young. The dance concludes, and Billy is anxious to return to Earth and help his daughter. He steals a star to take with him, as the Starkeeper pretends not to notice. Outside Julie's cottage, Carrie describes her visit to New York with the now-wealthy Enoch. Carrie's husband and their many children enter to fetch her—the family must get ready for the high school graduation later that day. Enoch Jr., the oldest son, remains behind to talk with Louise, as Billy and the Heavenly Friend escorting him enter, invisible to the other characters. Louise confides in Enoch Jr. that she plans to run away from home with an acting troupe. He says that he will stop her by marrying her, but that his father will think her an unsuitable match. Louise is outraged: each insults the other's father, and Louise orders Enoch Jr. to go away. Billy, able to make himself visible at will, reveals himself to the sobbing Louise, pretending to be a friend of her father. He offers her a gift—the star he stole from heaven. She refuses it and, frustrated, he slaps her hand. He makes himself invisible, and Louise tells Julie what happened, stating that the slap miraculously felt like a kiss, not a blow—and Julie understands her perfectly. Louise retreats to the house, as Julie notices the star that Billy dropped; she picks it up and seems to feel Billy's presence ("If I Loved You (Reprise)"). Billy invisibly attends Louise's graduation, hoping for one last chance to help his daughter and redeem himself. The beloved town physician, Dr. Seldon (who resembles the Starkeeper) advises the graduating class not to rely on their parents' success or be held back by their failure (words directed at Louise). Seldon prompts everyone to sing an old song, "You'll Never Walk Alone". Billy, still invisible, whispers to Louise, telling her to believe Seldon's words, and when she tentatively reaches out to another girl, she learns she does not have to be an outcast. Billy goes to Julie, telling her at last that he loved her. As his widow and daughter join in the singing, Billy is taken to his heavenly reward. Principal roles and notable performers ° denotes original Broadway cast Musical numbers Act I"List of Songs", Carousel at the IBDB Database. Retrieved July 18, 2012 "The Carousel Waltz" – Orchestra "You're a Queer One, Julie Jordan" – Carrie Pipperidge and Julie Jordan "(When I Marry) Mister Snow" – Carrie "If I Loved You" – Billy Bigelow and Julie "June Is Bustin' Out All Over" – Nettie Fowler and Chorus "(When I Marry) Mister Snow" (reprise) – Carrie, Enoch Snow and Female Chorus "When the Children Are Asleep" – Enoch and Carrie "Blow High, Blow Low" – Jigger Craigin, Billy and Male Chorus "Soliloquy" – BillyAct II "This Was a Real Nice Clambake" – Carrie, Nettie, Julie, Enoch and Chorus "Geraniums in the Winder" – Enoch * "There's Nothin' So Bad for a Woman" – Jigger and Chorus "What's the Use of Wond'rin'?" – Julie "You'll Never Walk Alone" – Nettie "The Highest Judge of All" – Billy Ballet: "Billy Makes a Journey" – Orchestra "If I Loved You" (reprise) – Billy Finale: "You'll Never Walk Alone" (reprise) – Company Productions Early productions The original Broadway production opened at the Majestic Theatre on April 19, 1945. The dress rehearsal the day before had gone badly, and the pair feared the new work would not be well received. One successful last-minute change was to have de Mille choreograph the pantomime. The movement of the carnival crowd in the pantomime had been entrusted to Mamoulian, and his version was not working. Rodgers had injured his back the previous week, and he watched the opening from a stretcher propped in a box behind the curtain. Sedated with morphine, he could see only part of the stage. As he could not hear the audience's applause and laughter, he assumed the show was a failure. It was not until friends congratulated him later that evening that he realized that the curtain had been met by wild applause. Bambi Linn, who played Louise, was so enthusiastically received by the audience during her ballet that she was forced to break character, when she next appeared, and bow. Rodgers' daughter Mary caught sight of her friend, Stephen Sondheim, both teenagers then, across several rows; both had eyes wet with tears. The original production ran for 890 performances, closing on May 24, 1947. The original cast included John Raitt (Billy), Jan Clayton (Julie), Jean Darling (Carrie), Eric Mattson (Enoch Snow), Christine Johnson (Nettie Fowler), Murvyn Vye (Jigger), Bambi Linn (Louise) and Russell Collins (Starkeeper). In December 1945, Clayton left to star in the Broadway revival of Show Boat and was replaced by Iva Withers; Raitt was replaced by Henry Michel in January 1947; Darling was replaced by Margot Moser.Hischak, p. 62 After closing on Broadway, the show went on a national tour for two years. It played for five months in Chicago alone, visited twenty states and two Canadian cities, covered and played to nearly two million people. The touring company had a four-week run at New York City Center in January 1949. Following the City Center run, the show was moved back to the Majestic Theatre in the hopes of filling the theatre until South Pacific opened in early April. However, ticket sales were mediocre, and the show closed almost a month early. The musical premiered in the West End, London, at the Theatre Royal, Drury Lane on June 7, 1950. The production was restaged by Jerome Whyte, with a cast that included Stephen Douglass (Billy), Iva Withers (Julie) and Margot Moser (Carrie). Carousel ran in London for 566 performances, remaining there for over a year and a half. Subsequent productions Carousel was revived in 1954 and 1957 at City Center, presented by the New York City Center Light Opera Company. Both times, the production featured Barbara Cook, though she played Carrie in 1954 and Julie in 1957 (playing alongside Howard Keel as Billy). The production was then taken to Belgium to be performed at the 1958 Brussels World's Fair, with David Atkinson as Billy, Ruth Kobart as Nettie, and Clayton reprising the role of Julie, which she had originated. In August 1965, Rodgers and the Music Theater of Lincoln Center produced Carousel for 47 performances. John Raitt reprised the role of Billy, with Jerry Orbach as Jigger and Reid Shelton as Enoch Snow. The roles of the Starkeeper and Dr. Seldon were played by Edward Everett Horton in his final stage appearance. The following year, New York City Center Light Opera Company brought Carousel back to City Center for 22 performances, with Bruce Yarnell as Billy and Constance Towers as Julie. Nicholas Hytner directed a new production of Carousel in 1992, at London's Royal National Theatre, with choreography by Sir Kenneth MacMillan and designs by Bob Crowley. In this staging, the story begins at the mill, where Julie and Carrie work, with the music slowed down to emphasize the drudgery. After work ends, they move to the shipyards and then to the carnival. As they proceed on a revolving stage, carnival characters appear, and at last the carousel is assembled onstage for the girls to ride.Block, p. 175 Louise is seduced by the ruffian boy during her Act 2 ballet, set around the ruins of a carousel. Michael Hayden played Billy not as a large, gruff man, but as a frustrated smaller one, a time bomb waiting to explode. Hayden, Joanna Riding (Julie) and Janie Dee (Carrie) all won Olivier Awards for their performances. Patricia Routledge played Nettie. Enoch and Carrie were cast as an interracial couple whose eight children, according to the review in The New York Times, looked like "a walking United Colors of Benetton ad". Clive Rowe, as Enoch, was nominated for an Olivier Award. The production's limited run from December 1992 through March 1993 was a sellout. It re-opened at the Shaftesbury Theatre in London in September 1993, presented by Cameron Mackintosh, where it continued until May 1994. The Hytner production moved to New York's Vivian Beaumont Theater, where it opened on March 24, 1994, and ran for 322 performances. This won five Tony Awards, including best musical revival, as well as awards for Hytner, MacMillan, Crowley and Audra McDonald (as Carrie). The cast also included Sally Murphy as Julie, Shirley Verrett as Nettie, Fisher Stevens as Jigger and Eddie Korbich as Enoch. One change made from the London to the New York production was to have Billy strike Louise across the face, rather than on the hand. According to Hayden, "He does the one unpardonable thing, the thing we can't forgive. It's a challenge for the audience to like him after that." The Hytner Carousel was presented in Japan in May 1995. A U.S. national tour with a scaled-down production began in February 1996 in Houston and closed in May 1997 in Providence, Rhode Island. Producers sought to feature young talent on the tour, with Patrick Wilson as Billy and Sarah Uriarte Berry, and later Jennifer Laura Thompson, as Julie. A revival opened at London's Savoy Theatre on December 2, 2008, after a week of previews, starring Jeremiah James (Billy), Alexandra Silber (Julie) and Lesley Garrett (Nettie). The production received warm to mixed reviews. It closed in June 2009, a month early. Michael Coveney, writing in The Independent, admired Rodgers' music but stated, "Lindsay Posner's efficient revival doesn't hold a candle to the National Theatre 1992 version". A production at Theater Basel, Switzerland, in 2016 to 2017, with German dialogue, was directed by Alexander Charim and choreographed by Teresa Rotemberg. Bryony Dwyer, Christian Miedl and Cheryl Studer starred, respectively, as Julie Jordan, Billy Bigelow and Nettie Fowler.<ref>[http://operabase.com/diary.cgi?lang=en&code=wsba&date=20161215 "Richard Rodgers: Carousel"] , Diary: Theater Basel, Operabase.com. Retrieved on March 8, 2018</ref> A semi-staged revival by the English National Opera opened at the London Coliseum in 2017. The production was directed by Lonny Price, conducted by David Charles Abell, and starred Alfie Boe as Billy, Katherine Jenkins as Julie and Nicholas Lyndhurst as the Starkeeper. The production received mixed to positive reviews. The third Broadway revival began previews in February 2018 at the Imperial Theatre and officially opened on April 12. It closed on September 16, 2018. The production starred Jessie Mueller, Joshua Henry, Renée Fleming, Lindsay Mendez and Alexander Gemignani. The production was directed by Jack O'Brien and choreographed by Justin Peck. The songs "Geraniums in the Winder" and "There's Nothin' So Bad for a Woman" were cut from this revival. Ben Brantley wrote in The New York Times, "The tragic inevitability of Carousel has seldom come across as warmly or as chillingly as it does in this vividly reimagined revival. ... [W]ith thoughtful and powerful performances by Mr. Henry and Ms. Mueller, the love story at the show's center has never seemed quite as ill-starred or, at the same time, as sexy. ... [T]he Starkeeper ... assumes new visibility throughout, taking on the role of Billy's angelic supervisor." Brantley strongly praised the choreography, all the performances and the designers. He was unconvinced, however, by the "mother-daughter dialogue that falls so abrasively on contemporary ears", where Julie tries to justify loving an abusive man, and other scenes in Act 2, particularly those set in heaven, and the optimism of the final scene. Most of the reviewers agreed that while the choreography and performances (especially the singing) were excellent, characterizing the production as sexy and sumptuous, O'Brien's direction did little to help the show deal with modern sensibilities about men's treatment of women, instead indulging in nostalgia. From July to September 2021 the Regent's Park Open Air Theatre in London is presenting a staging by its artistic director Timothy Sheader, with choreography by Drew McOnie. The cast includes Carly Bawden as Julie, Declan Bennett as Billy and Joanna Riding as Nettie. Film, television and concert versions [[File:Boothbay Harbor in Summer.jpg|thumb|upright=1.2|Boothbay Harbor, Maine, where the location shots for Carousels movie version were filmed]] A film version of the musical was made in 1956, starring Gordon MacRae and Shirley Jones. It follows the musical's story fairly closely, although a prologue, set in the Starkeeper's heaven, was added. The film was released only a few months after the release of the film version of Oklahoma! It garnered some good reviews, and the soundtrack recording was a best seller. As the same stars appeared in both pictures, however, the two films were often compared, generally to the disadvantage of Carousel. Thomas Hischak, in The Rodgers and Hammerstein Encyclopedia, later wondered "if the smaller number of Carousel stage revivals is the product of this often-lumbering [film] musical". There was also an abridged (100 minute) 1967 network television version that starred Robert Goulet, with choreography by Edward Villella. The New York Philharmonic presented a staged concert version of the musical from February 28 to March 2, 2013, at Avery Fisher Hall. Kelli O'Hara played Julie, with Nathan Gunn as Billy, Stephanie Blythe as Nettie, Jessie Mueller as Carrie, Jason Danieley as Enoch, Shuler Hensley as Jigger, John Cullum as the Starkeeper, and Kate Burton as Mrs. Mullin. Tiler Peck danced the role of Louise to choreography by Warren Carlyle. The production was directed by John Rando and conducted by Rob Fisher. Charles Isherwood of The New York Times wrote, "this is as gorgeously sung a production of this sublime 1945 Broadway musical as you are ever likely to hear." It was broadcast as part of the PBS Live from Lincoln Center series, premiering on April 26, 2013. Music and recordings Musical treatment Rodgers designed Carousel to be an almost continuous stream of music, especially in Act 1. In later years, Rodgers was asked if he had considered writing an opera. He stated that he had been sorely tempted to, but saw Carousel in operatic terms. He remembered, "We came very close to opera in the Majestic Theatre. ... There's much that is operatic in the music." Rodgers uses music in Carousel in subtle ways to differentiate characters and tell the audience of their emotional state. In "You're a Queer One, Julie Jordan", the music for the placid Carrie is characterized by even eighth-note rhythms, whereas the emotionally restless Julie's music is marked by dotted eighths and sixteenths; this rhythm will characterize her throughout the show. When Billy whistles a snatch of the song, he selects Julie's dotted notes rather than Carrie's. Reflecting the close association in the music between Julie and the as-yet unborn Louise, when Billy sings in "Soliloquy" of his daughter, who "gets hungry every night", he uses Julie's dotted rhythms. Such rhythms also characterize Julie's Act 2 song, "What's the Use of Wond'rin'". The stable love between Enoch and Carrie is strengthened by her willingness to let Enoch not only plan his entire life, but hers as well. This is reflected in "When the Children Are Asleep", where the two sing in close harmony, but Enoch musically interrupts his intended's turn at the chorus with the words "Dreams that won't be interrupted". Rodgers biographer Geoffrey Block, in his book on the Broadway musical, points out that though Billy may strike his wife, he allows her musical themes to become a part of him and never interrupts her music. Block suggests that, as reprehensible as Billy may be for his actions, Enoch requiring Carrie to act as "the little woman", and his having nine children with her (more than she had found acceptable in "When the Children are Asleep") can be considered to be even more abusive. The twelve-minute "bench scene", in which Billy and Julie get to know each other and which culminates with "If I Loved You", according to Hischak, "is considered the most completely integrated piece of music-drama in the American musical theatre". The scene is almost entirely drawn from Molnár and is one extended musical piece; Stephen Sondheim described it as "probably the single most important moment in the revolution of contemporary musicals". "If I Loved You" has been recorded many times, by such diverse artists as Frank Sinatra, Barbra Streisand, Sammy Davis Jr., Mario Lanza and Chad and Jeremy. The D-flat major theme that dominates the music for the second act ballet seems like a new melody to many audience members. It is, however, a greatly expanded development of a theme heard during "Soliloquy" at the line "I guess he'll call me 'The old man' ". When the pair discussed the song that would become "Soliloquy", Rodgers improvised at the piano to give Hammerstein an idea of how he envisioned the song. When Hammerstein presented his collaborator with the lyrics after two weeks of work (Hammerstein always wrote the words first, then Rodgers would write the melodies), Rodgers wrote the music for the eight-minute song in two hours. "What's the Use of Wond'rin' ", one of Julie's songs, worked well in the show but was never as popular on the radio or for recording, and Hammerstein believed that the lack of popularity was because he had concluded the final line, "And all the rest is talk" with a hard consonant, which does not allow the singer a vocal climax. Irving Berlin later stated that "You'll Never Walk Alone" had the same sort of effect on him as the 23rd Psalm. When singer Mel Tormé told Rodgers that "You'll Never Walk Alone" had made him cry, Rodgers nodded impatiently. "You're supposed to." The frequently recorded song has become a widely accepted hymn.Rodgers, p. 240 The cast recording of Carousel proved popular in Liverpool, like many Broadway albums, and in 1963, the Brian Epstein-managed band, Gerry and the Pacemakers had a number-one hit with the song. At the time, the top ten hits were played before Liverpool F.C. home matches; even after "You'll Never Walk Alone" dropped out of the top ten, fans continued to sing it, and it has become closely associated with the soccer team and the city of Liverpool. A BBC program, Soul Music, ranked it alongside "Silent Night" and "Abide With Me" in terms of its emotional impact and iconic status. Recordings The cast album of the 1945 Broadway production was issued on 78s, and the score was significantly cut—as was the 1950 London cast recording. Theatre historian John Kenrick notes of the 1945 recording that a number of songs had to be abridged to fit the 78 format, but that there is a small part of "Soliloquy" found on no other recording, as Rodgers cut it from the score immediately after the studio recording was made.Fick, David. "The Best Carousel Recording", June 11, 2009. Retrieved on April 7, 2016 A number of songs were cut for the 1956 film, but two of the deleted numbers had been recorded and were ultimately retained on the soundtrack album. The expanded CD version of the soundtrack, issued in 2001, contains all of the singing recorded for the film, including the cut portions, and nearly all of the dance music. The recording of the 1965 Lincoln Center revival featured Raitt reprising the role of Billy. Studio recordings of Carousels songs were released in 1956 (with Robert Merrill as Billy, Patrice Munsel as Julie, and Florence Henderson as Carrie), 1962 and 1987. The 1987 version featured a mix of opera and musical stars, including Samuel Ramey, Barbara Cook and Sarah Brightman. Kenrick recommends the 1962 studio recording for its outstanding cast, including Alfred Drake, Roberta Peters, Claramae Turner, Lee Venora, and Norman Treigle. Both the London (1993) and New York (1994) cast albums of the Hytner production contain portions of dialogue that, according to Hischak, speak to the power of Michael Hayden's portrayal of Billy. Kenrick judges the 1994 recording the best all-around performance of Carousel on disc, despite uneven singing by Hayden, due to Sally Murphy's Julie and the strong supporting cast (calling Audra McDonald the best Carrie he has heard). The Stratford Festival issued a recording in 2015. Critical reception and legacy The musical received almost unanimous rave reviews after its opening in 1945. According to Hischak, reviews were not as exuberant as for Oklahoma! as the critics were not taken by surprise this time. John Chapman of the Daily News termed it "one of the finest musical plays I have ever seen and I shall remember it always". The New York Times's reviewer, Lewis Nichols, stated that "Richard Rodgers and Oscar Hammerstein 2d, who can do no wrong, have continued doing no wrong in adapting Liliom into a musical play. Their Carousel is on the whole delightful." Wilella Waldorf of the New York Post, however, complained, "Carousel seemed to us a rather long evening. The Oklahoma! formula is becoming a bit monotonous and so are Miss de Mille's ballets. All right, go ahead and shoot!"Suskin, Steven. Opening Night on Broadway. Schirmer Trade Books, 1990, p. 147. . Dance Magazine gave Linn plaudits for her role as Louise, stating, "Bambi doesn't come on until twenty minutes before eleven, and for the next forty minutes, she practically holds the audience in her hand". Howard Barnes in the New York Herald Tribune also applauded the dancing: "It has waited for Miss de Mille to come through with peculiarly American dance patterns for a musical show to become as much a dance as a song show." When the musical returned to New York in 1949, The New York Times reviewer Brooks Atkinson described Carousel as "a conspicuously superior musical play ... Carousel, which was warmly appreciated when it opened, seems like nothing less than a masterpiece now." In 1954, when Carousel was revived at City Center, Atkinson discussed the musical in his review: Carousel has no comment to make on anything of topical importance. The theme is timeless and universal: the devotion of two people who love each other through thick and thin, complicated in this case by the wayward personality of the man, who cannot fulfill the responsibilities he has assumed.  ... Billy is a bum, but Carousel recognizes the decency of his motives and admires his independence. There are no slick solutions in Carousel. Stephen Sondheim noted the duo's ability to take the innovations of Oklahoma! and apply them to a serious setting: "Oklahoma! is about a picnic, Carousel is about life and death." Critic Eric Bentley, on the other hand, wrote that "the last scene of Carousel is an impertinence: I refuse to be lectured to by a musical comedy scriptwriter on the education of children, the nature of the good life, and the contribution of the American small town to the salvation of souls."New York Times critic Frank Rich said of the 1992 London production: "What is remarkable about Mr. Hytner's direction, aside from its unorthodox faith in the virtues of simplicity and stillness, is its ability to make a 1992 audience believe in Hammerstein's vision of redemption, which has it that a dead sinner can return to Earth to do godly good." The Hytner production in New York was hailed by many critics as a grittier Carousel, which they deemed more appropriate for the 1990s. Clive Barnes of the New York Post called it a "defining Carousel—hard-nosed, imaginative, and exciting." Critic Michael Billington has commented that "lyrically [Carousel] comes perilously close to acceptance of the inevitability of domestic violence." BroadwayWorld.com stated in 2013 that Carousel is now "considered somewhat controversial in terms of its attitudes on domestic violence" because Julie chooses to stay with Billy despite the abuse; actress Kelli O'Hara noted that the domestic violence that Julie "chooses to deal with – is a real, existing and very complicated thing. And exploring it is an important part of healing it." Rodgers considered Carousel his favorite of all his musicals and wrote, "it affects me deeply every time I see it performed". In 1999, Time magazine, in its "Best of the Century" list, named Carousel the Best Musical of the 20th century, writing that Rodgers and Hammerstein "set the standards for the 20th century musical, and this show features their most beautiful score and the most skillful and affecting example of their musical storytelling". Hammerstein's grandson, Oscar Andrew Hammerstein, in his book about his family, suggested that the wartime situation made Carousel's ending especially poignant to its original viewers, "Every American grieved the loss of a brother, son, father, or friend ... the audience empathized with [Billy's] all-too-human efforts to offer advice, to seek forgiveness, to complete an unfinished life, and to bid a proper good-bye from beyond the grave." Author and composer Ethan Mordden agreed with that perspective: If Oklahoma! developed the moral argument for sending American boys overseas, Carousel offered consolation to those wives and mothers whose boys would only return in spirit. The meaning lay not in the tragedy of the present, but in the hope for a future where no one walks alone. Awards and nominations Original 1945 Broadway productionNote: The Tony Awards were not established until 1947, and so Carousel was not eligible to win any Tonys at its premiere. 1957 revival 1992 London revival 1994 Broadway revival 2018 Broadway revival References Bibliography Block, Geoffrey. Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim. New York: Oxford University Press US, 2004. . Block, Geoffrey (ed.) The Richard Rodgers Reader. New York: Oxford University Press US, 2006. . Bradley, Ian. You've Got to Have a Dream: The Message of the Broadway Musical. Louisville, Ky., Westminster John Knox Press, 2005. 978-0-664-22854-5. Easton, Carol. No Intermission: The Life of Agnes DeMille. Jefferson, N.C.: Da Capo Press, 2000 (1st DaCapo Press edition). . Fordin, Hugh. Getting to Know Him: A Biography of Oscar Hammerstein II. Jefferson, N.C.: Da Capo Press, 1995 reprint of 1986 edition. . Hammerstein, Oscar Andrew. The Hammersteins: A Musical Theatre Family. New York: Black Dog & Leventhal Publishers, 2010. . Hischak, Thomas S. The Rodgers and Hammerstein Encyclopedia. Westport, Conn.: Greenwood Publishing Group, 2007. . Hyland, William G. Richard Rodgers. New Haven, Conn.: Yale University Press, 1998. . Molnár, Ferenc. Liliom: A Legend in Seven Scenes and a Prologue. New York: Boni and Liveright, 1921. Mordden, Ethan. "Rodgers & Hammerstein". New York: Harry N. Abrams, Inc., 1992. . Nolan, Frederick. The Sound of Their Music: The Story of Rodgers and Hammerstein. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2002. . Rodgers, Richard. Musical Stages: An Autobiography. Jefferson, N.C. Da Capo Press, 2002 reprint of 1975 edition. . Secrest, Meryle. Somewhere for Me: A Biography of Richard Rodgers. Cambridge, Massachusetts: Applause Theatre and Cinema Books, 2001. . External links Carousel at guidetomusicaltheatre.com Carousel info page on StageAgent.com – Carousel plot summary and character descriptions (1967 TV adaptation) 1945 musicals Broadway musicals Musicals by Rodgers and Hammerstein West End musicals Musicals based on plays Grammy Hall of Fame Award recipients Maine in fiction Fiction set in 1873 Fiction about the afterlife Plays set in Maine Plays set in the 19th century Tony Award-winning musicals

C_7cd74008d64741eca01fea7af45f2764_1

What is the name of of the first album of Anti-Flag?

What is the name of of the first album of Anti-Flag?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

Die For the Government,

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists

C_7cd74008d64741eca01fea7af45f2764_1

When was this album released?

When was Die For the Government released?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

In 1996,

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists

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What are some of the songs of this album?

What are some of the songs of Die For the Government?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

CANNOTANSWER

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists

C_7cd74008d64741eca01fea7af45f2764_1

Are there any other interesting aspects about this article?

Besides songs, are there any other interesting aspects?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

the band released their second full-length release,

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists

C_7cd74008d64741eca01fea7af45f2764_1

What is the name of this second album?

What is the name of Avenged Sevenfold's second album?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

Their System Doesn't Work For You.

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists

C_7cd74008d64741eca01fea7af45f2764_1

In what year was this album relesed?

In what year was Their System Doesn't Work For You relesed?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

In 1998,

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists

C_7cd74008d64741eca01fea7af45f2764_1

Did they release another album after that one?

besides Their System Doesn't Work For You, did Avenged Sevenfold release another album?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

In 1999,

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists

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And what is the name of this 3rd album?

And what is the name of Avenged Sevenfold's 3rd album?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

A New Kind of Army

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists

C_7cd74008d64741eca01fea7af45f2764_1

Who helped in the production of this album?

Who helped in the production of Avenged Sevenfold's album?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

Go-Kart Records/A-F Records.

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists

C_7cd74008d64741eca01fea7af45f2764_1

What other records companies are associated with the group?

Besides Go-Kart Records/A-F Records, what other records companies are associated with Avenged Sevenfold?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

New Red Archives.

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists

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Did the band go on any tours?

Did Avenged Sevenfold go on any tours?

Anti-Flag

In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band in the summer of 1996 because of personal disputes between himself and Justin. For a brief time after Andy's departure in 1996, Sean Whelan of Pittsburgh band the Bad Genes filled in on bass. It was during this time that Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to the band. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, moving Chris Head over to second guitar, which he preferred. The current line-up finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length release, Their System Doesn't Work For You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work For You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity within the American youth. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover saying,"Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." CANNOTANSWER

CANNOTANSWER

Anti-Flag is an American punk-rock band from Pittsburgh, Pennsylvania. The band is well known for its left-wing political activism. Their current members include singer/guitarist Justin Sane and drummer Pat Thetic, who founded the band together; later members that joined include guitarist Chris Head, and singer/bassist Chris Barker, also known as Chris No. 2. Notable past members include bassist Jamie "Cock" Towns and bassist Andy Flag. Anti-Flag is also known for their advocacy of progressive political movements such as Greenpeace, Amnesty International, and the Occupy movement. History Early years (1988, 1992–1996) Anti-Flag was formed in 1988 by singer/guitarist Justin Sane and drummer Pat Thetic. During the band's early years, various guitarists and bassists joined and left the band, including Justin's sister, Lucy Fester, who was formerly of the Chicago band Toothpaste. The band failed to solidify, disbanding after performing in only one show. In 1992, Justin and Pat re-formed the band with Andy Flag as their bassist. A 17-song demo album called 17 Songs was released the same year. First three albums (1996–1999) In 1996, the band released their first album, Die For the Government, on New Red Archives. Andy Flag left the band mid-1996 because of personal disputes against Justin. After Andy's departure in 1996, Sean Whelan from a Pittsburgh band called the Bad Genes briefly filled in as their bassist. During this time, Sean was also playing in another band (57 Defective) with guitarist Chris Head, whom he introduced to Anti-Flag. In early 1997, Pittsburgh guitarist Chris Head began filling in on bass. In late 1997, Jamie Cock took over as the new bassist, making Chris Head the second guitar, which Chris preferred. The current lineup finalized in 1999 when Chris Barker, also known as Chris No. 2, replaced Jamie Cock on bass. In 1998, the band released their second full-length album, Their System Doesn't Work for You. The album contained all nine Anti-Flag songs from the 1996 Anti-Flag/d.b.s. split album North America Sucks, as well as 10 new unreleased songs. The band decided to release the album independently, and Their System Doesn't Work for You became the debut release for the band's own A-F Records. In 1999, Anti-Flag released the album A New Kind of Army on Go-Kart Records/A-F Records. The album addressed topics such as abortion, political corruption, racism, fascism, troubled youth, police brutality, and unity amongst American youths. The cover art page unfolded into a poster featuring the phrase "Too smart to fight. Too smart to kill. Join now. A new kind of army." In addition to this, the band had a disclaimer at the bottom of its album cover, which said, "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means unity." Fat Wreck Chords (2000–2004) In 2000, Anti-Flag was invited to participate in Vans Warped Tour. During this time, the members of Anti-Flag met NOFX's Fat Mike, owner of the Fat Wreck Chords record label. This meeting formed a friendship between them that would lead to Anti-Flag releasing two albums on Fat Mike's label. In 2001, Anti-Flag teamed with punk music producer Mass Giorgini to record the album Underground Network, released on Fat Wreck Chords. The album's release is arguably the moment that made Anti-Flag emerge from the hardcore underground to more of a mainstream spotlight. The album addressed the issues of fascism (specifically neo-Nazis infiltrating the "hardcore scene") and the United States' foreign policy. The album was the first of theirs to contain the now-commonplace booklet filled with essays from historians and political commentators, most notably Professor Howard Zinn. In February 2002, Anti-Flag released the album Mobilize on A-F Records. The album featured eight new studio tracks as well as eight live tracks of songs from other albums. In the wake of the September 11 terrorist attacks on the United States, Anti-Flag spoke out against the push for war with the album's title track "911 for peace". During this time, many music stores got took Anti-Flag's records off their shelves, as their music was labeled as "anti-American." In 2003, Anti-Flag released the album The Terror State on Fat Wreck Chords. The album primarily focused on criticizing the Bush Administration's actions on the War on Terrorism. As before, the album held a booklet filled with essays by the band and other political commentators. The album contains a song called "Post-War Breakout" whose lyrics were originally written by Woody Guthrie. The track's music was arranged by the members of Anti-Flag, as Guthrie had never committed the arrangements to paper. On October 8, 2004, U.S. Representative Jim McDermott gave a speech in the House of Representatives, praising Anti-Flag for their work in encouraging young people to register and vote. RCA (2005–2009) In 2005, Anti-Flag signed a two-album record contract with major label RCA. In an interview with British newspaper The Guardian, Justin Sane explained the band's move to a major label: The first of these two albums, For Blood and Empire, was released on March 21, 2006. The album's main focus is the band's criticism of the mishandling of the War on Terrorism by the US government. The album's lead single, "This Is The End (For You My Friend)" is featured in the video game Madden NFL 07 and on NHL 07, strays from the theme of war and focuses on the troubled youth. They finished their "War Sucks, Let's Party" United States headlining tour in April and worked on some side projects such as the African Well Fund and Start to Finish MS now. Throughout Anti-Flag's career, many other bands have been added to the roster of the band's own label, A-F Records. These bands include The Code, Pipedown, Much the Same, The Vacancy, The Unseen, Modey Lemon, Thought Riot, Tabula Rasa, and more. On November 25, Anti-Flag revealed that their latest album was called The Bright Lights of America. Produced by Tony Visconti (of David Bowie, T. Rex (band) and Morrissey fame), it was released on April 1, 2008. The album's title single was released exclusively on iTunes on February 12, 2008. A video of the song was released some weeks later. In 2008, on tour with Canadian band Billy Talent in Europe, Justin Sane and Chris#2 joined Billy Talent singer Ben Kowalewicz and guitarist Ian D'Sa, singing their new song "Turn Your Back" from their upcoming unreleased album. The two also play on the single version of the song. In March 2009, Anti-Flag was forced to cancel a series of tours after Sane broke his collarbone at the UEA LCR in Norwich by jumping off the stage whilst trying to stop a fan of another act throwing objects at the band. SideOneDummy (2009–2014) On September 30, 2008, Chris#2 started posting on his blog that the band had begun to work on their seventh studio album. On December 2, Anti-Flag began to record their album, starting with "The Economy is Suffering... Let It Die". On March 31, 2009, Anti-Flag announced that their next CD, The People or the Gun, would be released on SideOneDummy on June 9, 2009. The band recorded the album in a home studio they built themselves. The first track of the album "Sodom, Gomorrah, and Washington DC (Sheep in Shepherd's Clothing)" could be listened to on Anti-Flag's website. On May 1, 2009, the band performed a full set of The Clash covers at Hoodwink in East Rutherford, New Jersey. In September 2009, Anti-Flag was slated to play a show during a G-20 protest that was taking place in their hometown of Pittsburgh, but the promoter canceled the show due to severe parking restrictions and police presence near the venue. Even so, the band continued to personally take part in the protests. In November 2009, Anti-Flag showed their support to the protesting students in Vienna. They gave a speech at the main building of the Vienna University that the students had taken over and also had one of the student representatives speak at their two shows in Vienna. In January 2010, Anti-Flag completed a full US tour supported by Aiden and Cancer Bats with various bands filling another supporting slot and local bands opening as many of the shows as possible. The tour was sponsored by Amnesty International, Peta 2, Greenpeace, and Innes Clothing (who supported a clothing drive for local homeless and youth shelters). The band followed the US tour with an Australian tour, playing the Soundwave Festival dates in February 2010, with bands such as AFI, Paramore, Escape the Fate, A Day to Remember, HIM and more, as well as playing two headlining dates supported by Alexisonfire and Comeback Kid. Throughout mid-2010, the band playing various festivals such as Ruisrock and Woodstock en Beauce, as well as playing the few last dates of the Vans Warped Tour in August. September 2010 saw the band headlining a Canadian tour with support from the Menzingers, which was followed by the European Vans Off the Wall Music Tour in October, with supporting acts The Swellers and Pulled Apart by Horses. The band made their live comeback in March 2011, while headlining a South American tour with This Is a Standoff, and then supporting My Chemical Romance on two dates in the US in April. In May–June 2011, the band returned to Europe to play the Slam Dunk Festival dates, as well as supporting System of a Down on June 2 in Milan, Italy. On June 21, 2011, front-man Justin Sane announced that Anti-Flag is working on material for a new album, which they hoped would be to released later in the year, with working title of Magnum. Sane has also announced plans to record a new solo album in the coming future, as he's been working on some folk-oriented solo material as well. The band released the album, The General Strike on March 20, 2012. The General Strike was recorded and Produced by Anti-Flag at their home studio. The band will be going on The General Strike Record Release Tour with The Flatliners and the Have Nots. They have released a lyric video for the song "1915" which is about Joe Hill. In June 2014, it was announced that Anti-Flag were to release a new album titled A Document of Dissent: 1993-2013. The album, a compilation of their releases from 1993 to 2013, would be released on Fat Wreck Chords, the band's first release with the label since The Terror State in 2003. The album was released on July 21, 2014. American Spring and American Fall (2015–2018) On January 16, 2015, the band announced they would release their ninth studio album titled American Spring, via Spinefarm Records. The album was released on May 26, 2015. Later in 2015 Anti-Flag released a compilation album called Cease Fires which contains two previously unreleased songs from their American Spring recording sessions and twelve songs taken from their 20 Years of Hell EP series. It was released on December 18, 2015. In a 2016 interview, Chris #2 revealed that he doesn't read books. On August 14, 2017, in reaction to the events of the 2017 Unite the Right rally, the band released a song titled "Racists" to the Spinefarm Records YouTube channel. On August 18, 2017, the band announced a new album titled American Fall would be released on Spinefarm Records on November 3, 2017, by premiering a song titled "American Attraction" from the upcoming album on the band's YouTube channel. In early 2018, the ensemble toured with Stray from the Path, The White Noise and Sharptooth. From July until September 2018, Anti-Flag played with AFI and Rise Against in the Mourning in Amerika Tour. 20/20 Vision (2019–present) On October 4, 2019, the band released their song "Christian Nationalist", alongside the announcement of a European tour the following year. On the band's website, the song's meaning was explained by a quote from Justin:The website also provided a list of Republican politicians, along with sources indicating that said politicians had accepted large amounts of donations from the NRA and gun lobbyists for their support of many of the concepts that are explained in the quote, along with a list of mass shooting incidents. Later that month, the band announced their twelfth studio album, 20/20 Vision, alongside the release of the song "Hate Conquers All" and the song's music video. Name and criticism Anti-Flag explained their name on the artwork for their 1999 release, A New Kind of Army, saying "Anti-Flag does not mean Anti-American. Anti-Flag means anti-war. Anti-Flag means the common people of the world are better off living in unity and peace. Anti-Flag means to stand against corporate greed that hurts millions while benefiting a handful of extremely rich. Anti-Flag means to fight against mindless nationalism. Anti-Flag means unity." Anti-Flag's anti-capitalism stance drew criticism towards them when they signed to major label RCA Records in 2005, with some referring to the move as the band selling out. Anti-Flag defended themselves from the criticism by saying that signing to the record label was for bringing their message to more people. Studio projects Chris No. 2 and Chris Head are in a band called White Wives. They have released the Situationists EP on February 15, 2011, and released Happeners on June 28, 2011. The band and name was based on the Provo movement and The White Plans. Wharf Rats, the new musical partnership between Chris No. 2 of Anti-Flag, Alexisonfire guitarist and Gallows frontman Wade MacNeil, The A.K.A.'s Chachi Darin and Minneapolis rapper P.O.S, was conceived on Warped Tour and recorded in the festival's traveling recording studio. Two songs emerged from those sessions: "Oh No!" and "Capital Gains". Both were pressed on a limited edition 7-inch single and released on May 31 via No Sleep Records. ANTIFest ANTIFest is Anti-Flag's own hosted festival. It took place on May 3, 2012, at The Forum at the University of Hertfordshire. The festival was the first self-established festival hosted by the band, who seek to maintain it as an annual event. On top of headlining the festival, the band personally chose all of the bands who appeared, some of which included other punk bands such as The Bouncing Souls, The Menzingers, Red City Radio, The Computers, and The Skints. The event also had volunteers from organizations including Amnesty International, PETA, and Emmaus providing information and a forum for debate and discussion. ANTIFest 2013 took place at Backstage Werk in Munich on July 14 with support from ZSK, Strike Anywhere, The Computers and Apologies, I Have None. Activism Anti-Flag have been involved with activism throughout their musical career. This has included starting the activism groups The Underground Action Alliance, Military Free Zone (a group to protest a clause in the No Child Left Behind Act, which gave military recruiters automatic access to students' personal details) and The Bright Lights. All members of the band are vegan, and are adamant supporters of animal rights. They have frequently been featured by PETA, and appear on the Fat Wreck Chords compilation album Liberation: Songs to Benefit PETA. They have been involved in performing at multiple protests, including two in support of Rage Against the Machine. They performed outside the Republican National Convention in 2008. They were not supposed to be the last band to play, but when officials found out that Rage Against the Machine were going to perform after them, they shut down the stage's power and Rage Against the Machine performed two songs using megaphones. The band played an acoustic set at the Occupy Wall Street demonstration in New York City on October 8, 2011. They also regularly support organizations which include: Democracy Now!, the latest headlines from which can be found on the band's homepage, ANTI-FLAG. PETA, who were one of the sponsors of their 2010 'The Economy Sucks Let's Party' tour. Amnesty International, to which the band donated money from the sale of The People and the Gun, have supported for a long time and who were one of the sponsors of their 2010 'The Economy Sucks Let's Party Tour'. Greenpeace, with whom the band worked in order to persuade world leaders to attend the climate conference in Copenhagen and who were one of the sponsors of their 'The Economy Sucks Let's Party Tour'. Useless, with whom they sold screen-printed limited-edition T-shirts to raise money for The Kandorwahun project, while raising awareness and visibility for Useless. The band also showed their disapproval of fracking in October 2013, supporting the Clean Water Mob. The band's song "Die for Your Government" was sung by anti-war protesters who briefly blocked a road to prevent U.S. troops from deploying to Iraq in August 2010. They have appeared in the 2010 music documentary Sounds Like A Revolution, about new protest music in America. Symbol The "Gun Star" is the symbol for the band Anti-Flag, designed by Anti-Flag guitarist Chris Head. It was first used on the cover of the album Mobilize. It was later used on merchandise. It is made up of five broken M16 rifles in the form of a star shape. Also, they used the O & X superposed symbols on Die for the Government LP frequently. Band members Current members Justin Sane – lead vocals, lead guitar (1988–1989, 1992–present) Chris#2 (Chris Barker) – bass guitar, backing and lead vocals (1999–present) Chris Head – bass guitar (1997), rhythm guitar, backing vocals (1997–present) Pat Thetic – drums, percussion (1988–1989, 1992–present) Former members Lucy Fester – bass guitar (1988–1989) Andy Flag – bass guitar, backing vocals, occasional lead vocals (1993–1996) Jamie "Cock" Towns – bass guitar (1997–1999) Touring musicians Erik Pitluga - drums (2018–present), guitar (2020–present) Josh Massie - guitar (2019) Donny Donovan - guitar (2019) Steve LaRussa - backing vocals, bass guitar (2013–2017) Brian Curran (1997) Sean Whealen (1998) Timeline Discography Studio albums Die for the Government (1996) A New Kind of Army (1999) Underground Network (2001) Mobilize (2002) The Terror State (2003) For Blood and Empire (2006) The Bright Lights of America (2008) The People or the Gun (2009) The General Strike (2012) American Spring (2015) American Fall (2017) 20/20 Vision (2020) Videography "This is the End (For You My Friend)" "Broken Bones" "The Economy is Suffering... Let It Die" "The Press Corpse" "This is the New Sound" "The Bright Lights of America" "Close My Eyes/The Ghosts of Alexandria (Punks in Vegas Session)" "When All the Lights Go Out" "Brandenburg Gate" "All of the Poison, All of the Pain" "Turncoat" "American Attraction" References External links Anti-Flag's/Chris No. 2's Blog Eastpak Antidote Tour Live review 1989 establishments in Pennsylvania A-F Records A-F Records artists Fat Wreck Chords artists Hardcore punk groups from Pennsylvania Melodic hardcore groups Musical groups established in 1989 Musical groups from Pittsburgh Anarcho-punk groups RCA Records artists SideOneDummy Records artists